Blue Corn

In one of the digital photos we can no longer access, the blue corn stalks are as tall as our six year old daughter. The seeds were second generation from two ears we were able to grow with kernels planted as part of a public protest in 2016. We donated five bucks to the nonprofit FreeSeeds for a packet of organic heirloom corn with drought-tolerant gene sequences patented by Insanto. The corporation more or less ignored this performative flaunting of patent infringement as thousands of backyard farmers got to feel radical while learning that corn is pretty hard to grow.

Last night I was thinking about Insanto's fate and strange rebirth. The first mysterious GM corn and soy field meltdowns were exciting. As thousands of acres of crops withered almost overnight, people thought "nature" was finally retaliating against Insanto's will to control. BT-resistant corn rootworms were winning the arms race. But the bombing of Insanto's corporate headquarters in St. Louis made it clear that the dead fields were also terrorist attacks. Then arsonists started torching the dried up fields. Another drought year.

The self-declared Organic Militia's attacks forced a sudden, glaring clarity on what Insanto had been doing all along: weaponizing food. The armed rent-a-soldiers on hire from Nergal LLC (formerly known as Academi, Xe Services and Blackwater USA/Worldwide) stationed around Insanto's HQ and various test sites were just the human analog to the weaponized food itself, life forms of mass destruction aimed at multitudes of micro- and macroorganisms. Whereas the corporation could kill targeted plants and insects with impunity, the militia had blatantly crossed the line into a categorically different form of violence by killing Insanto employees. Insanto's undeclared war against nature had blurred into an undeclared war between a corporation and a citizen-militia.

In contrast, Organic Militia's first press release was quite open and rabid in their declaration of war against Insanto. There were spies and saboteurs on both sides, comparisons to the French Revolution -- peasants trying to take down a monarchy with organic seeds, mushrooms species, and flames and drought conditions as weapons. They compared Insanto to the East India Company of the 19th century, widely hated while still touting its benevolence in "improving agriculture" and gifting food security to the masses. Both corporations enjoyed paternalistic fantasies of development and state sanctions on their virtual monopolizations in international trade. Organic Militia cast backyard middle class gardeners in the US as peasants, urging them to take up arms and get militant along with some of the laborers in the Global South demonstrating against GM agriculture by burning Insanto seed. Groups like Occupy Insanto committed to non-violent protest and civil disobedience condemned the Organic Militia while still leveraging new images of Nergal troops with rifles protecting HQ and fields.

GMOs were inescapable, showing up in non-GM labeled food, slipped into recipes at supposedly "all organic and locally grown" restaurants. For every fraud caught passing off BT corn or flounder-tomatoes as the natural thing, there were dozens undetected. Government regulators with the FDA or USDA just helped Insanto push through more GM quasi-species. Of course everyone was shocked and saddened by the St. Louis bombing, but we all kind of expected it after a decade of public frustration over foodflation and fundamentalist outrage over landscape impurity and genetic pollution. A speaker at the second GMO-Free Midwest conference in 2013 even predicted the attacks. Strapped state police forces remained surprisingly impassive, as if to say "this fight is between you guys." (Or the '17 Crash caused their non-intervention; the National Guard was far too busy with emergency response on the eastern seaboard to get involved). Multiple court cases ruling in favor of plaintiffs -- organic farmers, people with cancer, etc. -- crippled the corporations' profits with billions of dollars in ongoing settlements. But the clincher was evidence that Insanto labs had engineered a bacteria into corn and soy specifically targeted at degenerating human liver function at the same time one of their biopharming subsidiaries developed medication to help the resulting condition (splicing the same bacteria into fungi). Like a dream, a landmark Supreme Court ruling shut down the company and blockbusted it into little subsidiaries, with a harsh ten year moratorium on planting GM seeds in the US and territories.

Millions of acres of GM landscape patches with dead dirt and thriving superweeds needed remediation. Volunteers cropdusted them with fungal spores that are natural herbicides also capable of breaking down glysophates in the soil. Manure spreaders fertilized the fields with raw human poop. The alien acres of mushrooms seemed to glow at dawn and dusk.

Ultraviolet rays from the rising and setting sun also made our blue corn glow when we peeled back the silk. The stalks grew twice as tall as me. We babied the plants, picking off worms, carefully fertilizing, as if the few ears we might grow could feed the world. But the third year our seed wouldn't come up. We haven't tried growing corn since.

Now Insanto is back with odd new benevolent products. Nanotech waterbeads that manufacture water from soil air. Anti-depressant and anti-psychotic GM corn and soy. Pesticide resistant carabid beetles that eat rootworms. Insanto has realigned itself with the World Peace Council, the UN Peacekeepers, and other international organizations and publicly apologized for its long history in weapons manufacturing (from Agent Orange to glysophates). Strangest of all, Insanto open sourced its entire patent library. Everyone's skeptical: could they really be good guys now?

2028

Parasitescapes

Aromas float through the yard in seasonal waves. Each fall there is a night you can smell the crisp air tip into winter. Spring rains chase the scent of wet creosote I remember from growing up in Arizona (or maybe I’m imagining things). If the early summer has a lot of rain, the humid air in Ephemerata Gardens has a tropical odor of sweet flowers and rotten fruit.

Once the summer heats up, sometimes the driveway smells faintly of shit. The white gravel is too big to cover the cat poop of the same size, and the decomposing leaf litter in the concrete courtyard is too thin to hide anything. Cats also use the dirt under the roses as a litter box. Roaming chickens add to the pungent sulpherous odor. Flies are happy with the situation, snacking on fresh stool. The neighbor’s dog loves to eat cat scat. The sun cures feces in a few days, but there is a constant flow of fresh excreta.

The human body recoils from the stench. It is an emanation of dangerous living garbage, polluted matter potentially loaded with the viral spores of the brain parasite Toxoplasma gondii. A cousin to malaria, the pathogen infects host mammals like rats and humans through feline feces and undercooked meat. It can be lethal to people with compromised immune systems. Because the parasite can cause fetal brain damage, encephalitis, and miscarriages, pregnant women are warned not to change litter boxes or garden in potentially contaminated soil. Surprisingly, epidemiologists estimate that 40% of the world’s population, or 2.5 billion people, are hosts to T. gondii (Boulter 2007: 35). And its patchy landscapes are growing as the parasite reaches new host populations in the Pacific Ocean.

In 2005, researchers began finding a “Type X” strain of T. gondii in dead sea otters and other aquatic mammals. They suggested that the parasite’s egg-like oocysts are reaching the sea through freshwater runoff from the densely populated coast. Once in the water, mussels, oysters, and anchovies ingest the oocysts, and are in turn eaten by mammals that contract often-lethal infections (Conrad et. al 2005). With the help of Californians who flush cat feces or have trained cats to use toilets, the parasite may also find its way into the ocean after moving through municipal sewage treatment plants that are not equipped to kill the oocysts.

While news coverage of T. gondii’s devious urbanization have been cast in catastrophic terms as another threat to oceans, media attention to the parasite's manipulation of human behavior has a playful sci-fi, Body Snatchers flavor. Behavioral ecologists have shown that the pathogen alters risk avoidance in infected rats, making them curious about the smell of cat urine instead of running the other way (Zimmer 2000: 92-4). So what does it do to us? US researchers link the pathogen’s manipulation of dopamine levels to schizophrenia (Torrey & Yolken 2003). Scientists in the Czech Republic and Turkey suggest that infected people are more prone to car accidents, and much like cell phones and text messaging, “latent toxoplasmosis of drivers should be taken into account while developing strategies to prevent traffic accidents” (Yereli, Balcioglu, & Özbilgin 2006). More controversially, Czech researchers correlated toxoplasmosis with behavioral changes that differ in men and women. Australian epidemiologist Nicky Boulter sums up their research with what feels like a list of outrageous bio-determinist claims:

Infected men have lower IQs, achieve a lower level of education and have shorter attention spans. They are also more likely to break rules and take risks, be more independent, more anti-social, suspicious, jealous and morose, and are deemed to be less attractive to women. On the other hand, infected women tend to be more outgoing, friendly, more promiscuous, and are considered more attractive to men compared with noninfected controls. In short, it can make men behave like “alley cats” and women behave like “sex kittens”! (2007: 36)

Pushing this logic of parasitic agency further into netherworlds of quack science, Kevin D. Lafferty hypothesizes that the pathogen’s alteration of individual personalities – neuroticism and macho sex roles in particular – must alter “aggregate personality at the population level” (2006: 1). He then goes on to compare culture formations at national scales in correlation with differential rates of toxoplasmosis infection. For example, 12% of Americans carry T. gondii vs. 66% of Brazilians, so this must explain something about machismo in Brazil. By number crunching and jettisoning a good deal of contradictory data on Asia, he concludes, “the effect of T. gondii on culture could be broader than postulated here” (5). Science writer Carl Zimmer picked up Lafferty’s dubious findings on his blog, extrapolating wildly: “What about other parasites? Do viruses, intestinal worms, and other pathogens that can linger in the body for decades have their own influence on human personality? How much is the national spirit the spirit of a nation’s parasites?” (2006). Blogger comments ranged from outrage at another form of scientific racism to speculation that the parasite “is responsible for the condition known as ‘being a cat lover’” by recoding ‘child’ as ‘feline’ in the crazy cat person’s virus-addled brain. Cast as the vector for crazy cat person syndrome, cat poop will never be the same! We handle it with fear and awe as the mobile home of parasites.

Feline shit became known as ordinary sublime matter, the “divine materials in manure” a source of death and life alike (Logsdon 2010:153). In 2009, microbiologist Laura Knoll began experimenting with a potential malaria vaccine with the premise that purposefully inoculating human hosts with T. gondii might provide immunity to its more lethal cousin malaria. She was inspired by the fact that “Toxoplasma is on the category B list of bioterrorism agents” (University of Wisconsin-Madison 2009). This year in Tanzania, working through the Red Cross, Knoll administered the first experimental rounds of malaria vaccines with oocysts isolated and prepared from infected cats’ feces (risking side effects of schizophrenia and bad driving).

Meanwhile, back in California, a Type X pandemic hits the Pacific seaboard. Somehow the Los Angeles water supply’s oocyst load spikes, sending over a hundred thousand people to hospitals and doctors with flu-like symptoms at first feared to be a swine flu epidemic. Since shit, soil, and meat are Toxo’s vectors, the outbreak is proving easy to isolate unlike SARS and other diseases accidentally transported by airplane. Presumably, Southern Californians are now immune to malaria but more cat-like in their behavior.

In San Francisco and Toronto, curbside cat and dog poop pickup are in full swing. The programs divert pet feces from the landfill to methane digesters that generate electricity when the gas is burned off, in the process effectively isolating Toxoplasma from other urban waste streams. Back in our driveway, cat shit decomposes into dirt loaded with oocysts. The spores can live up to two years, dreaming of mammal brain landscapes to inhabit. We buy more gravel so the cats can bury their stench. I finally spread three-year-old mulch from our pine kitty litter composter in the front rose garden, right where the cats have pooped for years. The roses had been getting yellow leaves with brown dots and falling off. Kitty litter mulch solved the problem, loaded with "divine" microbes that produce antibiotics to keep plant pathogens in check (Logsdon 2010:153).

In the coldest stretch of winter the buds open white and red, spilling their lemony scent.

2015

Boulter, Nicky. “Alley Cats & Sex Kittens.” Australasian Science (January/February 2007),  35-27, http://www.control.com.au/bi2007/281parasites.pdf (accessed March 23, 2010).

Conrad, P.A., M.A. Miller, C. Kreuder, E.R. James, J. Mazet, H. Dabritz, D.A. Jessup, Frances Gulland, and M.E. Grigg, “Transmission of Toxoplasma: Clues from the study of sea otters as sentinels of Toxoplasma gondii flow into the marine environment,” International Journal for Parasitology 35 (2005) 1155–1168.

Lafferty, Kevin D. “Can the Common Brain Parasite, Toxoplasma gondii, Influence Human
Culture?” Proceedings of the Royal Society B (2006), http://www.werc.usgs.gov/chis/pdfs/
Lafferty06toxoPRSLB.pdf (accessed January 13, 2010).

Logsdon, Gene. Holy Shit: Managing Manure to Save Mankind. White River Junction, VT: Chelsea Green Publishing, 2010.

Torrey, EF, and RH Yolken. “Toxoplasma Gondii and Schizophrenia.” Emerging Infectious
Diseases (2003), http://www.cdc.gov/ncidod/EID/vol9no11/03-0143.htm (accessed January
23, 2010).

University of Wisconsin-Madison, School of Medicine and Public Health. August 11, 2009. http://www.med.wisc.edu/news-events/cats-provide-unusual-source-for-potential-malaria-vaccine/1320

Yereli, K., I. Balcioglu, and A. Özbilgin. “Is Toxoplasma Gondii a Potential Risk for Traffic
Acciedents in Turkey?” Forensic Science International 163, no. 1 (2006), http://www.ncbi.
nlm.nih.gov/pubmed/16332418 (accessed March 23, 2010).

Zimmer, Carl. Parasite Rex: Inside the Bizarre World of Nature’s Most Dangerous Creatures.
New York: Touchstone Books, 2000.

–––––. “A Nation of Neurotics? Blame the Puppet Masters?” The Loom: A Blog About Life, Past and Future, posted August 1, 2006, http://scienceblogs.com/loom/2006/08/01/a_nation_of_
cowards_blame_the.php (accessed March 4, 2009).

Trilling

After quiet winters, trilling begins again around the time yellow-crowned night heron fly back into town. Gulf coast toads come out of hibernation to talk at dusk around the pond with chirps and burbles. Our two year old knows the sound and says "night toad," sensing not just a being, but being-in-time. You can hear them over the A/C. When they spawn they chorus. Sometimes a few days later we find strings of white eggs, then hundreds of tadpoles thriving in our shower greywater.

Why does this soundscape make me feel happy and relaxed? Maybe it cues remembered feelings of our two tropical vacations to St. Croix and Costa Rica. We stayed in open-air bungalows with no A/C surrounded by amphibian choruses. All night multirhythms lulled us. Our getaways were romantic couple vacations melded with a desire to support sustainable economies. We were nature-loving eco-tourists experiencing the beauty and force of the tropics. Then there was the bed and breakfast on the way to Grandpa’s in Missouri, where a couple had built a two story waterfall out of local rocks surrounded by a deck, and tree frogs that moved in serenaded you all night. The sounds conjure atmospheres of the Global South—swampy regions, jungles, islands, humidity.

Maybe toad sounds tap what biologists like E.O. Wilson claim to be a hard-wired human biophiliac response. Amphibians are indicator species that index a healthy ecosystem, and hearing them lets my body know "the environment" is okay, at least in the backyard. But "we need not naturalize [the love of nature] as a universal biology in order to appreciate its global spread."* In an ethnographic account of environmentalisms set in Indonesia, Anna Tsing argues that loving nature expresses a nascent cosmopolitanism, an ethical sensibility and self-building project that steps out of a parochial blindness to one's environment to appreciate local peculiarities in a global context. Cultural and national modes of nature loving have their regional flavors, but share the sense of “the environment” as a human-free thing out there, to be protected against a different kind of objectification of nature that destroys its object.

So maybe it is just a US middle class environmentalist/nature lover response, delight in a lively nonhuman atmosphere that is supposed to be the opposite of urban. The pond is what landscapers and Home Despot call a “water feature.” Aquatic habitats are key parts of “wildlife gardening” design schemes that try to attract urban animals and maintain their eating and mating habitats. Our pond fits into biophiliac markets that include bird keying guides and hiking gear, the pet world, perhaps even the vast formal economic sector of the food industry (for those who express their love of living things by eating them). My qualia of life is enhanced by this nature soundtrack** of toad jazz.

Something else in the sound itself moves through my body. The trill's texture, like rapidly rising flute notes, and the response from another part of the yard, is a musical composition offset by a deeper range of wet growls. Sometimes the splash of a diving toad, and always the sound of the pond's waterfall. The sound itself is compelling, regardless of where it comes from.

Sounds are one of the sensory modes through which toads live in our yard. The texture of their seasonal refrains conjures synaesthetic impressions of their molten bronze eyes and dried leaf patterns on the backs of their heads. The toads and I indulge in the pleasures of feeling and seeing sounds, the work of listening, acknowledging talk, exercising sensitivity. I would miss these sensory habits attached to the toads if they went away. They live in cracks, unintended spaces in anthropogenic landscapes that provide an atmosphere where autonomous things can take care of themselves. Caves accidentally formed when I dug out a pit for the Jacuzzi shell that serves as the pond’s lowest pool, in the hollows under the front courtyard’s juniper tree, under logs around the garden with stripe-backed walking sticks. They inhabit a captivating little world of their own that has nothing to do with us, except that we assembled the junk art yard they call home. Despite the toads’ autonomy, I suspect we need each other.

Inside the museum, silent toads play pool. These taxidermy bufos are notorious for a hallucinogenic excrescence from glands on their backs that poisons dogs and makes teen toad-lickers trip. Cane toads, a bufo species introduced to Australia to control beetles eating sugar cane crops, are invasive nuisances that eat everything. In the Monstrosities exhibition, we displayed a gaff “Flesh Eating Toad from Madagascar” doctored out of a bufo with a set of piranha teeth. The pool players enjoyed a toad mariachi band with a horn section, drummer, and guitar players near the toad bartender. But their eyes are dead unseeing black orbs. Small nails through their feet and hands give them a crucified effect. Their bodies look bloated, overly stuffed, and their mouths are sewn shut. Somewhere in Mexico someone is preparing them, right now.

While bufo species like the gulf coast toads (Bufo valliceps) that inhabit our yard are not particularly endangered, since the 1980s, ecologists and biologists have documented rising vulnerability and extinction of amphibian populations. Suggested causes include habitat destruction and fragmentation, lethal funguses introduced from non-native frog species, climate change, and increased anthropogenic noises that drown out the sounds of amphibian mating calls.*** Industrial pollutants, insecticides, and herbicides also contribute to these population crashes. Controversial research on the widely used herbicides glysophate (first engineered for Monsanto’s Roundup herbicide) and atrazine have found that the chemicals cause changes in amphibians ranging from nervous system disorders to hermaphroditism. Amphibian die off joins bee colony collapse and bat white nose syndrome as troubling and mysterious ecological crises.

Publics gather around these vulnerable life forms to mitigate crises and preserve biodiversity. In Great Britain and Scotland, the nonprofit Froglife works to rebuild wetland and pond habitats in urban areas and help frogs and toads cross roads during spawning season. For twenty years volunteers with the Toads on Roads project have documented crossing sites, pushed road builders to install “wildlife crossings,” and manually hauled over 60,000 animals a year in buckets during “toad patrols.” The Living Water project “is creating and restoring prime wildlife habitats in gardens and parks throughout London and Glasgow.”**** They do this partly by using a chemical called rotenone to kill invasive stickleback fish that prey on tadpoles and newt larvae.

Bruno Latour tells a story about toad ethologists who “transformed the mores of these creatures into indisputable essences, and this in turn obliged highway builders to hollow out costly ‘toadways’ in their embankments, so that the toads could get back to their birthplace to lay their eggs.” But the toads rejected the “costly and dangerous tunnels” in favor of the new ponds on the road embankments. “After the experiment, the location of the egg-laying site was thus transformed from essence to habit: what was not negotiable became negotiable.”*****

These little toad worlds are different than approaching “the environment” as a pre-human thing out there that becomes perceptible through its decimation or conversion into resources (whether sustainable or not). The capacities of ecological beings to act on and in the world have become less about timeless essences and more of a set of problems in engineering and behavior modification within a common world -- problems to which nonhumans sometimes find their own surprising solutions in excess of objectifying knowledge that claims to know how things should be. The learned and shared behaviors of toads and humans change. Landscape patches emerge through these collective behaviors, through extended or collaborative bodies like the toads-in-human-carried-buckets living machines.

Intimacies and couplings are taking shape here. People are helping toads mate, and toad sounds wrap couples in romantic soundscapes. Children learn to talk, listen, and love nature by relating to toad vocalizations. Teens experiment with toad secretions. Scientific and conservationist communities gather. Friendships and careers are made. “We”s and worlds firm up.

2015

* Anna Lowenhaupt Tsing, Friction: An Ethnography of Global Connection, Princeton: Princeton University Press, 2005, p. 154.

** “Qualia” are sensations or feelings (not meanings) in response to aesthetic forms like sounds, colors, or gestures. Conservation and habitat restoration efforts can be driven by desires to preserve nature or the environment as an asset for quality of life in urban areas, and/or by an ethical orientation that protects species for their own sake, in political support of their autonomous existence. The latter orientation has to deal with questions of who belongs and how to control unwanted/invasive populations. Despite being the major ecological source of habitat destruction, humans are, of course, excluded from consideration in invasive species eradication programs.

*** http://en.wikipedia.org/wiki/Decline_in_amphibian_populations

**** http://www.froglife.org/habitats/ponds.htm

***** Bruno Latour, Politics of Nature: How to Bring the Sciences into Democracy, Cambridge and London: Harvard University Press (2004), 87.

DIYsneyland

Somehow my sense of the good life got pinned on Ephemerata Gardens and the Museum of Ephemerata, a sort of do-it-yourself Disneyland that I dream one day will become my way of making a living. People say, "You should start a non-profit, move into a store front! Make it into a business!" But my role models are people like Grandma Prisbrey, Reverend Howard Finster, Isaiah Zagar, Ross Ward, and most close to home, Vince at the Cathedral of Junk, all of whom wound up living off micro-tourist donations and other support from visitors to their little worlds without setting out to do so. It just happened. Of course there are plenty of cautionary tales of people whose art environments engulfed them in an insular retreat, like the hermits Emory Blagdon in his Healing Machine and Legler in his Valley of the Moon.

Around the time Jen and I reopened the Museum of Ephemerata in Tucson in 1999, we visited the Valley of the Moon on the outskirts of town. In the 1920s, George Phar Legler, a postman who raised rabbits on his land, built up hillocks of desert plants, foothills clustered with little fairy and gnome houses made of smooth river stones cemented together. A little dirt path through the miniature town leads to the Wizard’s Tower, BunnyLand Theater, and the Enchanted Garden, a waterfall grotto with built-in seats. It opens into an underground house called the Cave Room that exits beneath a waterfall.

Following his Spiritualist beliefs, Legler built the Valley of the Moon as a healing environment where people could go to rejuvenate their bodies and minds by exercising imagination. Every week he offered free guided tours: “Fairy Tours” that appealed to children’s magical sensibilities and “Metaphysical Tours” that unpacked the mysteries of life to adults. After Disneyland was built in 1955, a reporter for the Tucson Citizen opined, “Should Disneyland cover the entire State of California, not one corner would speak to childhood as does this imperfect, perfect little theater.”*  In the early 1970s some high school students found Legler, then in his 80s, living in the Cave Room, subsisting on vitamins and milk to appease his chronic stomach pain. The students’ families adopted him and started the Valley of the Moon Restoration Association. Legler lived to 97, long enough to see his lifelong project listed on the Arizona Register of Historic Places and preserved by an association that would care for his environment into the future.

The Valley of the Moon’s enchanted concrete structures recycled the fantasy architectures built on the estates of European elites in the 18th and 19th century. They built grottos of ferns and fake stalactites, as well as landscapes dotted with follies--artificial ruins overgrown with plants, inhabited by gentle fauna. Aristocrats delivered tours of their estates and curiosity cabinets to visiting dignitaries in performances of power, of owning the whole world. By the end of the 20th century, these microcosms had broken away from the realm of the rich to become mass leisure spaces--Coney Island’s parks, Disneyland, and a slew of knock-offs, second-rate theme parks, and seedy roadside attractions. Fantasy worlds also drifted into the yards of people like Legler, possessed by some vision of an other world that manifested in gradual accretions of concrete and masonry work where fairies and bunnies lived.

In Gardens of Revelation: Environments by Visionary Artists, John Beardsley makes the case that such “visionary environments represent a survival in popular culture of a form long out of favor in the institutional world”: the cabinet of curiosities (19).** Some visionary environments (like Tinkertown outside Albuquerque, or the Orange Show in Houston) are built as mini-museums, while others cobble together and embed collections of wondrous objects into the environments themselves. “Survival” points to how Beardsley sees curiosity cabinets as genealogical origins in a line of cultural forms that went extinct as far as institutionalized collections are concerned, but that still survive in vernacular patches. In 19th century anthropology and folklore, “survivals” were cultural forms that should have been wiped out with industrialization and rational thinking, but that still existed among backwards peasants and uncivilized cultures as shreds of the past, living fossils that never went extinct.*** The old practices and forms barely surviving civilization could be salvaged and preserved by folklorists and anthropologists (often driven by intense concern to save something unique from disappearing forever). They were seldom seen as survival tactics in themselves, struggles to recover ways of life from being trampled under a march of progress into a future that deemed them obsolete.

Beardsley continues, “both gardens of revelation and Disneyland involve entering another world” (19). In tours of the Museum's “impermanent collection,” we flow from Wunderkammern to dime museums and Coney Island, implying that the enchantment of curiosity cabinets survives in amusement parks of all kinds. But for Beardsley, the overly-simulated, nostalgic, and sanitized environments of themed spaces atrophy imagination by replacing local culture with corporate schlock. Disney worlds avoid and repress the countercultural sensibilities expressed in visionary art environments. Theme parks exist to profit off fantasy, whereas visionary environments exist regardless of money. As Tressa Prisbrey says of her Bottle Village, “Anyone can do anything with a million dollars. Look at Disney. But it takes more than money to make something out of nothing, and look at the fun I have doing it.”****

Although Beardsley sets up Disneyfied spaces as the anti-gardens of revelation, the well-funded tinkering of Imagineers directly inspires some homemade projects. As one do-it-yourselfer writes on his 'how to' website, "You, too, can have the best of Disneyland in your own backyard. After all, Disneyland was essentially Walt’s backyard."***** The Orange Show’s Jeff McKissack wanted his creation to rival Disneyland as a roadside attraction; he was in competition. In Hamtramck, Michigan, near Tyree Guyton’s Heidelberg Project, Dmytro Szylak started making his “Ukrainian Disneyland” on the roof of his two garages after retiring from the General Motors factory. At the Museum, we’ve borrowed Disneyland tactics like hiding fences in plain sight, camouflaged as décor. Our Pepper’s Ghost illusion was partly inspired by the Haunted Mansion’s ballroom scene of transparent dancing ghouls. Rather than being the opposite of bad Disneyland, some vernacular environments consciously adopt the park’s aesthetics and tactics with admiration (albeit without massive funding or status as mainstream tourist destinations).

Such places are do-it-yourself amusement parks of informal economies that slip into utopian gift economies--DIYsneylands created not to make money, but because habitats for dreaming and tinkering are wonderful places to call home. The immersive process of making them is better than being in any theme park on earth (not to mention, free). They become something to live for and belong to, a relationship of creativity, care, and upkeep that brings an inhabitable future into being at the humble scale of a small patch where you can imagine growing old. They might attract tourists, and entertaining visitors becomes another adventure. Once ‘discovered’ by popular/institutional/mainstream culture, things can change for better or worse. Being made public can vault their makers out of their houses, into the official art world of gallery shows. Or ruin their privacy and make them want to tear it all down. Or threaten them with code violations and the dreaded bulldozer. Or it doesn’t matter and they keep on tinkering like nothing happened. Above all, what is happening in DIYsneylands is lanscape play, a kind of affective labor that immerses players in a layered environment that is at once ecological, aesthetic, historic, and noetic, without any of these layers being “the point.”

Yard art environments are generally viewed as large-scale forms of folk art that express aesthetic and technical abilities rooted in class, ethnic, and religious identities, instead of the economically and academically established realm of fine arts. Jill Nokes sidesteps this usual framing of ‘vernacular art’ by approaching such places as “vernacular landscapes” (3).****** ‘Vernacular’ indexes amateur, self-taught, indigenous, or local forms, practices, and knowledges (as opposed to, say, invasive forms, standard practices, or expert knowledges). Nokes traveled Texas searching for peculiar homes and gardens transformed by their inhabitants into “powerful [gestures] of hospitality and sociability” that convey “the story of a person’s life” (5, 13). She focuses on what vernacular landscapes mean to their creators, but how do these landscapes work as urban ecosystems, parts of the City of Living Garbage? What kind of learning and teaching do they assemble? Some of the art yards in Nokes’ book operate as vernacular forms of ecological restoration. They transform urban wastestreams into wildlife habitats and act as informal educational institutions as community gathering places. These patch dynamics are not planned so much as emergent, sweeping up their makers into unanticipated worlds. "Do-it-yourself" isn't quite right... a person's life becomes part of a singular landscape, able to act only through relationships with many others--living garbage, plants, the knowledges and feelings of like-minded yardists...

Whatever you want to call them, and whatever these places do and don’t have in common, otherworldly yards and houses have proliferated in hundreds of sites across America: some big, some small; some young, some decrepit; some well known, others as yet ‘undiscovered’; all vulnerable. There seem to be as many books, magazines, websites, blogs, and online galleries about these places as there are places. Self-taught photographers go on pilgrimages to see the work of self-taught artists and architects. Fans of these places make a life out of visiting them on roadtrips. I’m ready to retire, get an RV, and hit the road myself. Of course, being discovered and catalogued brings the people behind the places in touch, and some become extremely knowledgeable about their fellow art environments. They get caught in a spiderweb thrown across roadside America, trapping unwitting passers-by in DIYsneylands similar to something they’ve experienced before, but not as fastidiously engineered by teams of experts. Not as permanent as Disney’s sturdy, constantly repaired facades, and much smaller--a city block or house lot. Not quite as sprawling as zoos, botanical gardens, or restored ecologies you may have visited, but overgrown and crowded with plants and animals nonetheless. And most remarkably, made of cast-offs, bric-a-brac, junk no one else would touch. A million wandering forms of life gather and find a common home here. As the venerable Reverend Howard Finster put it on a hand-painted sign of blocky letters in Paradise Gardens:

I TOOK THE PIECES YOU
THREW AWAY AND PUT THEM
TOGETHER NIGHT AND DAY,
WASHED BY RAIN, DRIED BY SUN,
A MILLION PIECES ALL IN ONE.

2012

*George Phar Legler Society, “Valley of the Moon,” http://www.tucsonvalleyofthemoon.com

**John Beardsley, Gardens of Revelation: Environments by Visionary Artists, photos James Pierce, New York: Abbeville Press, 1995.

***Stocking, George W., Jr. Victorian Anthropology. London and New York: The Free Press, 1991, 164-78.
****Grandma Prisbrey's Bottle Village, http://home.roadrunner.com/~echomatic/bv/history.html.
*****T.R. Shaw, “Backyard Imagineering,” http://www.hiddenmickeys.org/Imagineering/
Imagineering.html
******Jill Nokes, Yard Art and Handbuilt Places: Extraordinary Expressions of Home, Austin: UT Press, 2007.

Backwaters

The water smells good, like a creek. It cascades from one cast-iron bathtub into another, then into a ground level Jacuzzi, aerating along the way. Gambusia devour mosquitoe larva while goldfish and koi eat algae. Papyrus, elephant ear, pickerelweed, duck potato, duckweed--no end to the aquatic weeds useful for remediating not-so-dirty graywater.  Every time we shower ten to twenty gallons of the Colorado River flows into this bathtub waterfall, displacing water to the peach and avacado trees and soaking into the Boggy Creek watershed that feeds back into the Colorado River. Just how big is this backyard living machine? 

To jury rig these plumbing backwaters I severed the tub's drain pipe before it joined the outgoing toilet line for the South Austin Regional Wastewater Treatment Plant. Black plastic tubing delivers tub graywater to the sunken backyard Jacuzzi. I inoculated the new ponds with bacteria-laden sludge from the kitchen wetland. Searching for aquatic plants on Craigslist, I found some floating water hyacinth indigenous to South America and water lettuce native to North Africa to spread across the pond surfaces and kick start remediation. Their feathery roots catch drifting biosolids for bacteria to metabolize, keeping algal blooms in check by eating up nutrients. Invasive elephant ear collected from Town Lake unfurl rhizomes and colonize the tubs.

That winter raccoons who lost their homes when the City buried a neighborhood creek raid the wetland and eat most of the elephant ear tubers. This gives the native arrowroot (pickerelweed) from the Rhizome Collective a chance to spread in the spring. Hummingbirds sip nectar from their arrays of bright blue flowers. Dragonflies dip eggs into the water, and the growing nymphs eat mosquito larva. In the spring, hundreds of tadpoles hatch, and fingernail-size baby toads hop out to all corners of Ephemerata Gardens. At dusk the Gulf Coast toads' trilling sounds overlay bubbling water.

DIY wetlands take form through aesthetic improvisations--hands-on encounters with things that push back and teach as they emerge, laying down patterns and habits in sensory refrains. When Nigel Thrift visited Ephemerata Gardens after giving a talk at UT, he was enthusiastic about our backwaters as a form of hopeful urban resiliance through nonstandardized “underground knowledges” of repair and maintenance.* Improvisation involves ad hoc engineering, making it up as you go along or making due with all kinds of idiomatic solutions. We talked about how the improvisations are not at all limited to what do-it-yourselfers decide to do, but also what plants, animals, and bacteria fiddle around with in the self-emmergent landscape patch. Thrift talked about the wetland as an aesthetic form--something that “generates sensory and emotional gratification” and “shared capacity and commonality”**--the pleasures of being around lively habitats, teaching people about graywater remediation, and sharing water plants by giving them away. I had to remind him that these aesthetic forms are not just all rosy, but risky, subjecting you to abject encounters with rat-tailed maggots and invisible pathogens, or the stress of wondering when the Department of Code Compliance is coming to get you.

Wastewater reuse in wetlands and urban agriculture is slowly becoming accepted by departments of code, as well as a formalized strategy in international development projects. Too many people are tapping wastewater as a more dependable water source than rain for municipalities to realistically police and enforce wastewater use prohibitions. Remediating shower water with decentralized, user-maintained systems may be riskier to public health than the big wastewater treatment plants dealing with poop-laden blackwater. But it is much cheaper, conserves energy and potable water, and delivers nutrient rich water to local crops. Despite prohibitions against using wastewater for agriculture, farmers in the global South have been informally using it for irrigation in urban farms for decades. "Urban agriculture cannot be seen separately from wastewater use."*** Efforts to formalize wastewater use focus on experimental systems that provide a basic level of treatment through screening out solids and allowing sludge to settle in basins.

An experimental constructed wetland in Cameroon treats sewage from a population of 650 people by streaming it through a series of eight lagoons. Seven of these are stocked with water lettuce that can double its biomass within a week (giving it the status of a dangerous invasive species in waterways around the world). The researchers who built the system suggested maximum phytoremediation is only achievable by removing one quarter of the plants every fifteen days. All kinds of beings are waiting to highjack this living water with their aesthetic improvisations: "Emanation of foul odours, mosquitoes and flies proliferation and appearance of aquatic snakes are some of the nuisances recorded. These problems become acute when the system is left unattended to for long periods."**** Such systems require hands-on human labor to manage the labor of plant species; but they do not require electrical energy, endless chemical inputs, machine maintenance, or massive municipal funding to be built in the first place.

A similar experiment in Dakar, Senegal (built for a half million dollars in research monies) institutes a community run and owned sewage treatment plant that uses water lettuce to produce nitrogen-rich water for irrigation of urban agriculture.***** The system utilizes a permaculture model that approaches multiple issues (public health, employment for youth and women, and water and food security) with a single integrated solution. Likewise, a development project in Palestine (built for about 200K USD) treats sewage with duckweed, a tiny floating plant with high protein content and extremely fast growth rate. The duckweed is harvested twice a week and used as feed for chickens, so that the chemical-free sewage treatment plant serves as a stable source of income.****** These experiments seek to demonstrate that probiotic sewage treatment using aquatic plants as remediation technologies--a different kind of solar power--are both epidemiologically safe and economically effective alternatives to conventional sewage infrastructure development.

Imagine floating over a city of these DIY wetlands, a graywater oasis. Self-emergent communities of people and ecological beings are puddling around wastewater. Somewhere out there, an old bathtub is waiting to become your DIY wetland!

2015

*Nigel Thrift, 2005, “But Malice Aforethought: Cities and the Natural History of Hatred.” Transactions of the British Institute of Geographers 30:2 (June 2005), 133–150, p.136.

**Nigel Thrift, 2010, “Understanding the Material Practices of Glamour.” In The Affect Theory Reader Melissa Gregg, Gregory J. Seigworth, eds. Durham, NC: Duke University Press. 289–308, p. 292.

***Mark Redwood, Wastewater Use in Urban Agriculture: Assessing Current Research and Options for Local Governments, International Development Research Centre, Cities Feeding People Reports Series (2004), p.18, http://www.bvsde.paho.org/bvsaar/fulltext/redwood.pdf.

****Fonkou, Théophile, Philip Agendia, Ives Kengne, Amougou Akoa, and Jean Nya. Potentials of water lettuce (Pistia stratiotes) in domestic sewage treatment with macrophytic lagoon systems in Cameroon. Proceedings of International Symposium on Environmental Pollution Control and Waste Management, January 2002, Tunis, 709-714, p.711-12, www.geocities.jp/epcowmjp/EPCOWM2002/709-714Fonkou.pdf.

*****Niang, Seydou. "Wastewater Treatment Using Water Lettuce for Reuse in Market Gardens (Dakar)." International Development Research Centre website, web.idrc.ca/es/ev-6339-201-1-DO_TOPIC.html.

******Al Khateeb, Nader. "Duckweed Wastewater Treatment and Reuse for Fodder (West Bank)." International Development Research Centre website, web.idrc.ca/es/ev-6314-201-1-DO_TOPIC.html.

Note: Parts of this entry were first published in Scott Webel, “Free Water! DIY Wetlands and the Futures of Urban Gray Water,” Anthropology Now 3(1): 13-22.

Greenhouse

Just before the housing bubble went POP! and Code enforced the Cathedral of Junk to comply, Vince brought me by the Professor’s house, a south Austin old-timer who collects special rocks from the railroad tracks down the street. Over the decades a landslide accumulated: cairns in the yard, smothering steps and porch, covering the house’s floor, stacked around the bed in a nest. Then the water heater burned a hole in the house’s center. Rain-soaked sheetrock melted down on the rocks below. The Professor was living on the back porch with his red dog surrounded by piles of stones.

We were visiting The Old Place to help move windows stacked against the house, and to take some home. They're weatherproofed with coats of mistint paints, pink, lavender, and lime dribbles down the panes. Some had been there forty years, salvaged from the University of Texas’ Mary dormitory before its demolition. The Professor says they looked out on Town Lake before it was dammed, when a waterfall flowed where the pedestrian bridge now stands. He lives in and salvages fragments of Austin's lost landscapes, some thousands of years old, barely buried under the present. Traces of the past no one else wants or can see engulf his house, awaiting scavengers who can archive or make use of them. That is how dorm windows that looked out on the vanished city came to peer in on the dream habitats of art yards. The windows now form the glass walls of Ephemerata Garden's greenhouse, a workshop at Further Farms, Smut Putt Heaven's windows/crutches structure filled with San Pedro and other cacti, and seasonal forms at the Cathedral of Junk.

Rock pile couch, take a seat. The porch overlooks a big drained pond once full of tropical fish and water lilies. We watch grackles dig for bugs in the ruined pond’s roots while the Professor pours out stories in a creek talk of whirlpools, grabbing things from piles to illustrate meandering lectures. He pulls animal bones and skulls from a black suitcase. “See how the antler was scraped away to make it balance? It’s weighted to your hands. Put it around your neck. The Apache and Comanche who lived here used this as a tool.” He shakes a piece of glass and a little bulbous stalactite from a pill bottle: “This is a piece of fulgurite, from lightning hitting sand. And this calcite formation has been altered, carved into Ixchel, Mayan Goddess of the moon, who walks with a rabbit on her shoulder. You can see her when the moon is three-quarter’s full, and the rabbit is very clear on her shoulder.” Hanson earned the nickname Professor for this constant stream of learned discourse. But he thinks of himself as a smart aleck scholar, ready to deflate expert knowledge--all those experts who don’t take his relics seriously.

According to Hanson, this neighborhood was one of the first spots in Austin colonized by the Spanish. “They found this populated garden and took over.” Anglos eventually built a narrow-gauge railroad steam-powered by a wooden locomotive--forgotten history down the block, where the railroad still runs freight into town. With a big pre-invasion population having lived around the modern-day tracks, he finds hand-hewn rocks everywhere down there and hauls them back up on his motorized wheelchair. He says every rock, bone, and piece of metal salvaged from the tracks carries some trace of human tinkering. Some stones have been hewn and weighted to spin perfectly, or to stand upright on a ledge's lip. Others have exposed pockets of glimmering geodes, or concave fishscales from flint napping. You can see whirls of amber in a piece of fossilized palm wood. There are animal forms and profiles of women wearing elaborate headdresses, carved by women otherwise constantly grinding on matate. He passes around a heavy fossil mammoth bone excavated in the backyard while digging a well. Someone tuned this fifty-pound sitar-shaped limestone rock to produce two notes. See the wear marks where drumming fingers endlessly slapped the stone?

Like the rocks and relics, the drained pond embodies a possible past, tracing a lost ecology of relationships between characters and landscapes. While anoles, geckoes, spiny lizards, and the bugs they eat burrow in the rock cairns’ million caverns, the pond habitat manifested the animal realm most intensely. “It was one of the most successful things I’ve ever done. It just worked: I built it, and all the animals came!” Two kinds of native tree frogs live in Austin, and one species moved in to the habitat. Sometimes they visited Hanson’s bedroom. Once a Great Blue Heron came down to hunt them. Vince remembers blooming lilies and insect dramas. “There was sort of an arms race, where the spiders built big webs over the pond, and the dragonflies would come down and cut the webs where they joined the trees. They learned to cut all the right places.” Not so many animals, since the pond’s been drained. Now the pond’s a concrete ruin, awaiting mortar patchwork and resealing with paint. Papyrus, pickerelweed, and dehydrated water lily roots survive in shallow puddles. Every day mockingbirds pick for bugs. Like the bamboo grove behind the pond, the patchy landscape is in ruins, gone wild and overgrown. Sun spears through bamboo blades to magenta and sky blue wood planks leaned against the back of the pond. More salvaged materials are propped against a little hand-built house beside the pond. The scene draws out a feeling in me of wanting to get to work, see it unfurl.

But what Hanson really needs help with is moving all the salvage wood, windows, rocks, and relics way from the burned-out house so it can be repaired. One day we work on relocating rocks to clear a path to the house. Another day, Vince gathers David and Susan, Scott Stevens, and Jen and I to make human chains and get some windows out of there. A good crew of six--we could start a moving company. While Vince hacks a path through the bamboo, Jen and I offer Hanson a Museum t-shirt illustrated with a Moontower, Austin's first public lighting from 1895. He reminisces, “I lived right under a Moontower in west campus. Back then a lot more bugs clouded the lights, feeding flocks of nighthawks.” The bugs are gone now, so the birds are in decline, but the Moontower is preserved as a historic landmark. “There used to be a lot more bugs all over Austin--and butterflies!” Like the Colorado River waterfall that disappeared with the damming of Town Lake, this is the city that vanished. In the face of all this ruin, he sobs, “I identify with critters more and more, because the same people who want to crush critters want to crush me!”

The Professor likes old things, ways, and knowledges--anything that somehow survives--and The Old Place is a sort of database of these. "I've researched all kinds of hippie industries, like fruit silviculture, making soap, raising tilapia." One day I drop by to see his repaired house with wheelchair ramp. A few folded blankets sit on the floor beside the huge loom he made them on. We talk about trees, a Chinaberry grove at the street's dead end that Hanson watched grow about forty years ago out of a scrapmetal "junk ecology" that sheltered saplings from the mower. “It’s good wood--they used it to build China cabinets,” professes the Professor. I complain about Hackberries at our house constantly dropping branches. Planted for fast-growing shade during Austin’s 1950s housing boom, now you see them falling apart all over the city. But the smart aleck scholar argues, “It’s a food tree. People lived off hackberry pies in the Depression. Lots of birds eat them, too.” Now the Hackberries provision invasive monk parakeets and migratory birds like cedar waxwings.

At first Hanson's windows formed a greenhouse tacked on to our front car port. Last fall I
framed out a new greenhouse in the backyard with lumber, concrete, and UV-blocking plastic roofing from Home Despot. On the north side I poured a narrow foundation for a bottle wall to build this spring or summer or some other vague future. The glass walls can be seasonally broken down and removed. They're cobbled out of double-pane glass doors salvaged by a friend and variously sized windows from The Old Place and the Habitat for Humanity ReStore. Painted with gallons of cheap mistint lavender and bubblegum, Jen's mom nicknames it "Barbie's Greenhouse." It's an imperfectly sealed atmosphere that captures light and a little heat. We stuff all our potted plants in this bubble, just in time to survive winter.

2012

Busybody

Visitors to Ephemerata Gardens often ask us how long we've lived here, how long did it take to get this way? How many thousands of hours tinkering? What sightseers see is only a snapshot of something non-visual: ways of living in atmospheres. Landscape patches are composed of different tempos and rhythms, the blur of hands seeding and weeding, the speed of root growth and heron migrations, the slow collection and decomposition of garbage. Yardist symbiont people become contented busybodies, endlessly encrusting landscape patches with aesthetic layers as the years fly by. Isaiah Zagar in the Magic Gardens grew three left arms because he works so fast: "My work is marked by events and is a mirror of the mind that is building and falling apart, having a logic but close to chaos, refusing to stay still for the camera, and giving one a sense of heaven and hell simultaneously." Far from being in control, a living machine's engineer just tries to keep up with emergence, just one of the processes that holds the superorganism together.

Over a dozen years every surface in Spunky Monkey Ranch became permeated with art. Visitors entered the land through a twelve-foot arch cobbled out of deadwood, skis, crutches, and scavenged wood panels painted with a bright monkey face and vibrating letters spelling out the yard's name. A smaller arch spanned the path down to the creekside bamboo grove. Held together by wire and tension, the arcs bristled with gravity’s potential, poised on falling apart; they want to move. They match David Pratt’s body – a shaky livewire, hands and boots tapping out excess energy. He likes to work fast to override making too many decisions, swinging lengths of wide transparent tape over a pile of collage scraps so static electricity sucks up an image. Slapped directly onto picture frames, compositions emerge with a depth of multiple layers, some obscured. Art lives off the frame, swallows it up, the same way Susan’s mosaics live on house walls and garden paths. They match her, too – still and patient. Susan has a quiet presence that blends in, then pops out with simple joy and generosity. Spunky Monkey Ranch embodied Susan and David’s still and jittery ways of being.

When they moved out to Further Farms in Elgin, some people were shocked that David and Susan could abandon the art environment and just leave everything to its fate. David and Susan accepted it as part of the place’s lifecycle. David wondered, “How can I take it with me when it all lives here? It’d be like dragging a heavy load around by my neck. I’ve never stuck around anywhere long enough to build a foundation like Vince has” at the Cathedral of Junk. David keeps moving, starting over. Maybe Further Farms will emerge as a foundation, maybe not. While their “everything must go” yard sale moved as much art, plants, and materials off the Ranch as possible, the rest stayed or got tossed. Vince helped move the mosaic Monkey King on his throne. What about the small portable pond? “Well, if it looks like it belongs here, it stays.” It belongs to the place, and maybe some other artist will tend to its life there (which is what happened to the mini-Old West town at Spunky Monkey Ranch in the first place). If not, it goes the way of all mortals and falls apart. Like any garden, it needs tending to exist. Art environments take on a life of their own, but need a spunky cultivator to repair things as gravity, weather, rust, plants, and animals shuffle forms around. Aesthetic patterns materialize through processes of constant recomposition – tending a place’s emergence, laying down layer after layer of endless care and repair. From one day to the next, art environments are never the same.

Before Spunky Monkey Ranch, Susan and David ran the Alternate Current ArtSpace in a rented building on the same South Austin lot. Opening in 1991, this live-in art gallery hosted unjuried gallery shows that art critics and careful curators described as “cluttered.” It was a hodgepodge place where anyone could show art. Themes for group shows were inclusive and quirky: “The Mojo Show,” “White Trash/Black Helicopter,” “He Said/She Said.” Their last show in 2002 focused on 9/11 only nine months after the event. Alternate Current aimed at being a habitat to encourage and support south Austin artists and connect them to an older generation of creative people. Both the gallery and the Ranch were places that gathered an eclectic public of artists, musicians, gardeners, filmmakers, and their kids into a welcoming intergenerational scene.

Like the Alternate Current art gallery before it, Spunky Monkey Ranch reveals the fluidity of places, how fast they change, the inescapable vulnerability of aesthetic patterns in time. In “The Vulnerability of Outsider Architecture,”* Roger Cardinal laments the loss of vernacular art environments as an almost inevitable fate. Given their improvised aesthetic compositions like mosaics or structures held together by gravity, these singular places share an in-built precariousness of form. Without their perpetually tinkering creators (who abandon them in pursuit of lower rent, or are institutionalized, or die, or commit suicide), the places swiftly fall to pieces. Often built of junk, the public can see them as eyesores or rat farms; arsons and vandals assault some places, while municipalities dismantle others on the grounds of code violations or health hazards. Very few are preserved by nonprofit institutions (like the Orange Show Foundation in Houston). As an art historian, Cardinal mourns not only their "extinction," but “that extinction should lead to oblivion: we can only guess at the number of outsider sites which have vanished across the years. The only consolation is that a number of demolished structures enjoy an afterlife” through visual documentation (2000:172). A powerful mode of melancholic narrative presents itself in vanished or decayed expressive forms, lost arts, and extinct species of beauty. The affective pull of lost places, or their potential loss, motivates preservation – the avoidance of "extinction" of singular atmospheres that will never grace the world again.

Is there really any way to freeze these places? Aesthetic patterns in vernacular landscapes cannot be preserved without preserving the process of perpetual emergence, the relationship between spunky monkeys and their homes. If "outsider architecture" takes form through the pleasures of unfolding processes – tinkering, gardening, creating, scavenging, dreaming, partying – preservationists should follow by shifting attention to the vulnerability of action. This reframes preservation and destruction as generative actions in themselves. Rather than a melancholic vision of the loss of place, the vulnerability of art environments helps us to see these landscapes as momentary triumphs of doing or living against the odds -- despite thermodynamics and capitalism. At the same time, animating places through historical narratives helps us understand what drives the pattern of vulnerability itself. Rent goes up. Economic development patterns recognizable as gentrification and code regulation bring about the abandonment and destruction of these precarious urban landscape patches.

Meanwhile, out at Further Farms, Susan’s mosaic and collage patterns begin to encrust the kitchen walls. The trailer’s living room offers plenty of wall space for a gallery of David and Susan’s paintings, collages, and mosaics, as well as art they’ve collected over the years. The sunny open spaces outside called for gardens, and the farm is taking shape as veggies watered with caught rain in raised beds of cinder blocks and car tires. Vince helped assemble fence wood and windows into junkitecture walls for the carport turned studio workshop. The circle of lean cedar elms suggested a sundial, and every equinox and solstice David is out there at sunrise calibrating a solar calendar out of metal poles and mortar chunks gathered from the land. A skeletal metal arch unfolds near the sundial with a chair up top like you could sit there and enjoy a fine view. David calls it "the East Gate to the Garden of Eden, or the West Gate, depending on which side you’re on." The potluck gatherings that connect generations of creative people and families continue at Further Farms with Thanksgiving dinners and Easter egg hunts, when people come together to catch up, share home-cooked food, and play some music. And then there is the new pattern of driving from the exurbs into town, where Susan works for the City, and David has seasonal work with the IRS or as a movie extra. Life is quieter out there, stars brighter, and the art of wildflowers, deer, and hawks graces the fields.

The busybody is ready to mosaic, aching to dig. The relationship between the busybody and living garbage surges with a dream or possibility. Never finished, always ready to start over or go further into what is emerging.

*Roger Cardinal, “The Vulnerability of Ousider Architecture,” Southern Quarterly 39, no. 1-2 (2000): 169-186.

Garbage Collectors

"Ephemerata Gardens collects all kinds of objects and life forms... It is a miniature version of the North Pacific Garbage Gyre (or Garbage Patch), a museum of plastics gathered by the clockwise vortex of oceanic currents. "

Posted on FlowTV.org.

Monk Refrains

Throaty heron caws, bluejay songs, monk parrot squawks. Heron fledglings fall through the fig trees into the yard. Six pack rings drop from the pecan where junkitect bluejays build a nest with plastics and frayed rope scraps. They call out beautiful two note whistles and mad barks at the cats. Monks vibrate the sky with their racous chatter, calling it down to your sensorium. Look up and see them in the busy blue nonhuman city among red cardinals, starlings, little migratory birds, vultures, butterflies, dragonflies, airplanes, longings, nothingness. The monks' calls are only one aspect of a multisensory art project that crosses the sky over Ephemerata Gardens.

Monk parakeets are native to extreme climates of Argentina, Uruguay, and Paraguay, where their communal nests can weigh up to a ton. They prey on human crops, colonizing tall, non-native Eucalyptus trees cultivated on plantation borders as windbreaks – perfect aeries from which to launch pirate raids on grids of crops below! In the 1970s, Argentina launched an eradication program against the pests. Although a government bounty “resulted in a return of over 400,000 pairs of monk feet in two years” and 64,000 birds were exiled to the US as pets, native monks are still at large in Argentina.¹ Ornithologists consider them an invasive species to North America (where European settlers made the continent's only indigenous parrot, the Carolina Parakeet, extinct by the 1920s). Naturalized colonies of escaped and released monks have popped up in California, Florida, Texas, Washington, Connicticut, New York, and other states. One ornithologist who visited Ephemerata Gardens said monks might be like pigeons in a hundred years, flourishing in every city. Todd S. Campbell with the Institute for Biological Invasions remarks, “monk parakeets are probably not beyond control from a biological or logistical standpoint, but they are likely beyond control from a public sentiment standpoint” thanks to human guardians who mobilize against their eradication.¹ Urban monks construct communal nests on cell phone towers and electricity junction boxes. In winter 2005 public protests broke out when Connecticut’s United Illuminating (UI) dismantled monk nests on electricity poles. In addition to rallying at nest removal sites and launching a press campaign against UI, people from neighborhoods where nests were being removed built fake nests installed in their backyards. Not many monks moved in.

Monk nests remind me of yardist David Lee Pratt’s description of his interlaced arcs of mangled rebar and other scrap metal at Further Farms: architectural forms that use no nails, no concrete, just intuitive balance to puzzle together a structure that gravity keeps from falling apart. Monks sharpen one end of a stick with their beaks, then jimmy it into the other sticks. Each mated pair builds four or so rooms. They defecate inside, then use their waste as stucco so the house interior becomes sealed against wind and rain. The nests are constructed using the improvisational principles behind the Cathedral of Junk and the open-air rooms at Biosquat. They are composed by weaving things together; they are never finished being woven; they are all built of trash (especially Monk nests, given trash’s etymology of “fallen leaves and twigs”); they are all "beyond control." Like Austin junkitects, monk parrots build something out of nothing, and in the process, pull together communities through their semi-public homes.

As immigrant settlers or refugees from South America, the monks haul tropical sounding atmospheres north in advance of global warming. Like the sonic envelopes of TVs, sirens, and traffic, birds give atmospheres trembling contours, making them moodily alive through repetitions of sounds and colors. Monk parrots alter what Gilles Deleuze and Félix Guattari call refrains, “an act of rhythm that has become expressive, ... become qualitative... Not the constituted mark of a subject, but the constituting mark of a domain, an abode, ... the chancy formation of a domain” through synaesthetic labor” (315-16).² Monk refrains crystallize as chatter, green flashes, and patterns of sticks. The concept of refrains does not approach aesthetics as symbolic arts limited to people, but rather, as embodied expression or distributed somatic intelligence that communicates directly through the senses, literally making sense, sustaining life. Refrains double as a vocabulary for describing patchy landscapes, but also as a compositional methodology. We cannot talk about refrains without making and sensing them. This non-representational approach to built environments recognizes the aesthetic agency of plants, animals, microbes, and machines in composing sensations of unison.

Deleuze and Guattari elaborated the concept of aesthetic-ecological refrains by mining natural history and behavioral ecology to illustrate how nonhuman artists throw out “planes of composition,” design territories that improvise homes out of chaos. They love “the magic bird,” the bowerbird (331), that flies into their writing to perform refrains.³ These natives of Australia and Papua New Guinea create elaborate nests to dance around inside, their patterns of color and gesture resounding with songs, including those of other birds. Bowerbird refrains are made of synaesthetic “sounds-colors-gestures” that shuttle between bird and forest (333). In this way, “landscapes are peopled by characters and the characters belong to landscapes” (320). Refrains fly away, a nonorganic life of sounds coexisting in the forest with bowerbirds that is open to becoming something independent of them.⁴ Refrains are the becoming-forest of the bowerbird, the becoming-sky of the monks.

Music, melodies, and refrains breath life into regions, landscapes, houses, and other atmospheres. They are alternative energy forms that power the City of Living Garbage under the banner "The Survival Circus Marching Band!" Try it: whistling and humming when hungry or tired can recharge you. The affects of sound are strong sensory forces that jump between and vibrate sentient beings as their medium. Katherine Hayles notes, “researchers in virtual reality have found that sound is much more effective than sight in imparting emotional tonalities to their simulated worlds” (219).⁵ Lawrence Grossberg explores music's “unique and striking relationship to the human body, surrounding, enfolding, and even invading it within its own rhythms and textures” that open up feelings of possibility, freedom, and belonging with such force that it can hold together social movements (152).⁶ Refrains are collective  improvisations that express Ornette Coleman's harmolodic musical theory. “Harmolodics is the use of the physical and mental of one’s own logic made into an expression of sound to bring about the musical sensation of unison executed by a single person or with a group” (43).⁷ Coleman grasps sounds as belonging to landscapes (e.g., in regional musical styles), but also as expressions of individual intelligence released into refrains that recompose minds and moods. The collective song is its own form of life or "unison" that endlessly doubles back into and out of the musicians that colaboratively release its expression. This form of life needs musicians and instruments to shape its refrain, but the harmolodic refrain becomes the aural house where musicians live and that gave them life and instruments in the first place.

So the monk parrots' chatter and green feathers expressed tropical Southerness even as they refrained a tentative inhabitation: is this the South? Can we live here? Can we enter the fossil record and become native to this new place? 

2012

1 Campbell, Todd S. “The Monk Parakeet.” The Institute for Biological Invasions, posted December 2000, http://invasions.bio.utk.edu/invaders/monk.html (no longer accessible).
2 Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia, Vol. 2. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1987.
3 They also fly into Jill Noke’s description of the Cathedral of Junk’s domes as bowerbird nests (Yard Art and Handbuilt Places: Extraordinary Expressions of Home. Austin: UT Press, 2007, p.99).
4 While researching Kaluli ornithology in Papua New Guinea, Stephen Feld asked his informant Jubi to match up bird sounds with species until Jubi clarified things for him. “Listen – to you they are birds, to me they are voices in the forest” (Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. 2d ed. Philadelphia: University of Pensylvania Press, 1990, p.45). Jubi’s remark helped Feld to understand why the birds and their sounds require separate taxonomies among Kaluli ornithologists: they are distinct beings. The bird artists of Papua New Guinea sing and dance refrains, the sounds of which become nonorganic life forms captured by Kaluli songs and dances. The birds’ sounds and colorful feathers enter into a becoming-human through Kaluli ritual practices of “becoming a bird” or “man in the form of a bird” (236).
5 Hayles, N. Katherine. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press, 1999.
6 Grossberg, Lawrence. We Gotta Get Out of This Place: Popular Conservatism and Postmodern Culture. New York: Routledge, 1992.
7 Quoted in Gioia, Ted. The Imperfect Art: Reflections on Jazz and Modern Culture. New York: Oxford University Press, 1988.

French Sponge

A ghost creek haunts our backyard. The neighbor remembers the fold of earth that once cut across our properties, down to the end of the block, and on through the neighborhood to connect with Boggy Creek. Now there's a buried culvert for street runoff, and when it pours, a ghost flows between our houses and through our backyard.

The water poured into the next yard until I built a French drain. The idea came from Vince at the Cathedral of Junk, who engineered the way water flows through his yard. He'd talked about the possibilities of geological A/Cs by digging a long underground tunnel that opens up a hundred or so feet from the house. If you had an attic vent, it would suck air through the cooling underground and into your house. French drains usually route water out of the yard (and into your neighbors, or wherever). Henry French, not the French, suggested the design in his 1859 book, Farm drainage: The principles, processes, and effects of draining land with stones, wood, plows, and open ditches, and especially with tiles. How the south was drained. He laid curved roofing tiles along the bottom of trenches, then filled in different sized gravel as filters. These days, instead of roofing tiles, landscape architects use various perforated tubes and geotextiles to do the job.

Wanting to save as much rainwater as possible, not shunt it off the land, I used the principles of the French drain to build a sponge. I shoveled out trenches two feet deep in an L shape at the yard's heart, drilled a hundred holes in PVC scavenged from a backyard pile, laid them in the trenches, and filled in a half ton of gravel. While excavating I found an old path of paving stones a half foot underground. I moved dirt displaced from the trenches to form a swale that routes the ghost creek to our fig trees. Wrapping the PVC in geotextiles would have helped absorb water and reduce clogging from roots and migrating soil. If I were doing it all over, I'd encase my PVC in used baby diapers, an undervalued and underestimated geotextile that lines landfills everywhere. Maybe diapers would have leached bad things into the soil. Now the ghost creek soaks into the French sponge, the fig and pecan trees, and the Boggy Creek watershed.

Just upstream at the old airport, backhoes and bulldozers dug out a stormwater retention basin surrounded by restored Blacklands prairie as part of the Mueller Development. Street runoff from the New Urbanist housing/retail development floods into the basin, filling it up to slowly soak in. A sprinkler system beneath the Blacklands prairie keeps the wildflowers blooming even in drought years like this one. The pond/prairie patch is a machinic landscape or living machine designed to save rainwater that, through its deployment on the land, engineered that water's flow out of the Boggy Creek watershed to the neighboring Tannehill Branch Creek watershed. The pond, stocked with native fish, bubbles at the center to prevent eutrophication. You can jog or walk your dog around the pond on a hilltop path overlooking the water, riparian plants, waterfalls, and a wild old tree on a peninsula. Many benches to sit and contemplate nature.

Wheelflowers

Wheelflowers, wheeldomes, wheelwalls, wheelarbors, wheelbarrow shrines, welded-wheel bike racks, wheelgardens, and wheelmachines bloom everywhere in the patchy landscapes of the City of Living Garbage. There are bicycle-powered tablesaws and foodblenders, bike rim domes at Biosquat hunkered over hand-dug clay quarries and another at the Cathedral of Junk that incorporates a cosmic satellite dish and whirling A/C turban. Rubber tire planters, sometimes cut into fanciful bird forms or spiky crowns, grace yards and sidewalks. Earthship dwellers inhabit rammed-earth car tires. You enter Ephemerata Gardens through a wheelarbor of bike rims with an arced PVC/metal pole/guardrail skeleton that hosts moonflower and heavenly blue morning glory. In the backyard, three wheelflowers sway over our fig trees. White wing doves pause on them to survey the cats hunting on the ground below.

The wheelflowers bloomed when some side-of-the-road hubcaps, junk bike rims from the Yellow Bike Project, and PVC and metal pipes abandoned in our backyard met a little bit of wire and earth. They are doubled overhead by car and bicyclist emissions, with the small hubcabs centered in the web of bike spokes having a bigger share in the atmosphere's composition. The circles make a pattern with the sun's arc, the bottles stacked as retaining walls for raised bed gardens, and an arch of bent rebar with cut metal letters spelling out our garden's name.

Wheels compose landscapes of circular repetition and movement. Cars and bikes are so different -- the moods they stir up in traffic, their repair costs, the ways they spend time and energy, their relationships to the sky or hills (not to mention soil: cars are heavy and compact earth; they have to drive on non-permeable cover; food-powered machinery runs on agricultural fields and cars run on drilled land- and seascapes; you could go on and on). Car wheels, chained to machine engines, don't have the DIY flexibility of muscle/food-powered cyborgs like the bike or shoe. People are walking or biking into livable futures past junkyards of electrified and corn-fed automobiles. They build signposts out of vehicular debris, fenders welded into a huge gateway that reads "BIKETOPIA." The Nowhere City of Velocipedopolis.

Biosquat started out as a summertime homestead for outdoor living, with wintertime dwellings somewhere south. Their living experiment was to become bike nomads following bird migrations through a seasonal city stretched out across what David Santos calls “the New World Twilight Zone” in his onscreen epic, Wheeliad. The Zone is a north-south flyway for migrating monarch and snout nose butterflies, Mexican free-tail bats, hummingbirds, and hundreds of other beings of the sky who teach nomadic survival. The Zone's hourglass shape hosts supernatural anomalies at its tapered heart – “a geographic singularity of weirdness centered loosely on Mexico." Austin, Oz-Town, “a prime node in the twilight zone,” incubates mutations for survival in the ecological catastrophes wracking the early 21st century.

Biosquat's caretaker, Ed Sapir, leads us along paths winding through this edible landscape dotted with salvage architecture. The hillside gardens can be irrigated with rainwater caught in a homemade 600 gallon cistern that runs on a solar powered pump Ed designed. We visit the little egg-shaped dugout “hobbit hole” with a dome of welded bike wheels and curvy benches made of red clay mixed with sand. Climb up into the wheelegg treehouse, with its pointy end north and its wide side south, open-ended to the sun’s arc and cooling wind. Wired with electricity, but built for open-air, A/C-free summer sleeping, the treehouse lets you slumber in the sky. The treehouse’s rough cedar plank floor comes from a factory outside town. The egg’s pointy end is half of a satellite dish with an over-arc of bike rims wired to aluminum sailboat spars bought cheap – surplus junk. Political candidate signs make up the roof, but Ed wants to replace them with metal tiles. He envisions an elegant vernacular architecture akin to Finca Exotica's "tiki modernism" where the makeshift political signs, crumbling in the sun, no longer fit in. A beautiful curvy wheelbanister is held together by strong wire running in a circle surrounding the balcony in a structural hug. Ed says you could charge at it and just bounce off, it’s so strong. It’s the tension.

Everything at Biosquat is just hatching, all the time. Ed imagines the bike wheel domes
and red clay mortarwork as archaeological sites – readymade ruins or follies, overgrown with flora. While we sit and talk he plucks weeds in an ongoing shaping of the landscape. Like Santos’ online writing, Biosquat is devoid of any illusion of closure, permanently in progress, and alive. Half-born wheelforms accumulate for however long it takes for them to come together. Salvage architecture takes patience in a slow accretion of puzzle pieces. There are finished and inhabitable projects like the treehouse, and there are things in more elementary stages of coming through the pipedream bottleneck. Everything is many things at once, and nothing is what it was.

Biosquat plays out how cities might finally catch on to the ecstatic bounty of the post-industrial age – the trashed world. Beautiful houses have been built of waste. This radical tinkering revels in the surplus of decomposition, experimenting with new and unanticipated forms and landscapes out of mobility machines that are falling apart. Like a circus of scrappy novelties, it is an alternative, temporary urban zone that gets on with celebrating life in the face of ecochaos. Rolling with the cyborg bicyclist/bike body, it keeps human muscle power and feats of endurance like bicycle migrations at the center of possibilities. Carnival sustainability is “victory-in-advance,” as David Santos puts it – “victory-in-the-attempt” to bike out of peak oil collapse into the paradise of the City of Living Garbage.

Curry Tree

We brought five curry seeds back from our honeymoon in Costa Rica -- not in our stomachs like invasive seeds usually travel, but as part of a clandestine collection of naturalia (sand dollar, volcanic rock, other seeds) that made it through customs and onto the airplane. The curry trees, themselves transplants to Costa Rica, help stitch our yard into a pan-continental crazy quilt of “patchy landscapes”* traversed by plants, water, animals, pollutants, forms of energy and information, and other flows. One of the potted curries has seeds, and we'll see if they're fertile.

Like eggs, seeds are fleeting proto-forms, containers for something emergent. Seeds usually propagate by being consumed and pooped out by animals or strewn to the wind, trash in either case. I wonder if curries will naturalize in North America -- a future as vulnerable and precarious as dormant wildflower seeds in winter, when no blooming flower yet lives. Curry groves overgrowing abandoned mall parking lots in New Orleans.

We ate the curry berries on a salad served at Finca Exotica, a "wildlife rescue ecolodge" in Costa Rica's Osa Peninsula near the entrance to Corcovado National Park. A biodiverse paradise: you sleep in ocean-earshot canvas tents designed as bamboo tiki huts, surrounded by exotic fruit tree gardens, nestled up against steep jungle hills. Scarlet macaws flock overhead. The land had been clearcut for cattle. As part of the Saimiri biological refuge, the resort doubles as a reforestation project, and gardens have reclaimed most of the landscape. The monkeys and cats have come back to the foothills. The couple who run Finca Exotica are involved in a cat conservation pilot program based on tourism (while pelts or live animals fetch poachers more money). One day at lunch we meet their friend, who documents the cat's spread outside Corcovado National Park using auto-triggered night cameras. He's also passionate about the indigenous Ngäbe as an endangered culture, their youth leaving reservations for the cities.

Curry trees come from the Indian subcontinent, where they grow wild in forests and post-agricultural and post-industrial landscapes. People harvest the leaves as key ingredients for food and medicine, bringing them all over the world in a patchy landscape of flavors and therapies. Biochemists say curry's antioxident powers have healed the pancreases of diabetic rats. We give one of our seedlings to Boggy Creek Farm so they can propagate the trees. They can get to be fifteen feet tall, and the flowers attract butterflies. If the atmosphere warms up over the next twenty years, curries just might acclimate to Austin, joining Chinaberries and Ligustrum in our "invasive," bird-propagated urban forest. Last winter the curry we planted in the ground died back during the freezes, but regrew in the spring.** I daydream about what it will smell like after a rain, if it lives to get big.

When I ask our tour guide at the Wilson Botanical Garden outside San Vito why the fruit of the Noni trees smell so horribly rotten, he sagely says, "Things get used to things." The plant adapted to keep away some voracious eater, or to attract a certain pollinator that found its blue cheese stench irresistible. Conversely, when you patch things into new lands, they take on new sensory qualities in the encounter with new life forms. The various deterritorialized characters compose patchy landscapes of scents, colors, healing properties, shadows, leaf litter, and a thousand other things. I learn to cook with the curry leaves, frying them with onions and mustard seeds before adding pinto beans. A flavor of India, via Costa Rica and uneaten seeds.

*Eugene P. Odum, Ecology and Our Endangered Life-Support Systems (2d ed. Sunderland, MA: Sinauer Associates, Inc., 1993), p.54.

**Curries are adapted to climate zones 9 and 10, and Austin has something like a zone 8 climate. A freeze might zap a sapling if a dry, hot summer doesn't knock it out. If you wanted to introduce curry trees as useful invaders to Austin, it would be best to strew seeds along a creek or a steady stream of wastewater runoff.

Eggshell Blue

We found the blue eggshells under the figs. An old pecan looms above, and the empty eggs dropped from a long branch cradling a perilous stick nest built by herons.

The first spring after we moved into the house nine years ago a pair of yellow-crowned night herons nested in the empty lot across the street. They came back every spring, new pairs joining them every few years. This spring their nesting habitat spilled over to our yard with two nests in the pecan. We watched them break off twigs, maneuvering them across the fork in the tree branch till they locked into place like a kind of hammock.

Their waste rained down on the fig trees. Dropped or rejected twigs became heron trash (etymologically, "fallen leaves and twigs"). White urine streaked the green leaves like a Pollock painting. A tight ball of crushed crawdad shells landed on the Thai basil. This morning I found a little crustacean's pincer arm on the eggplant. This fall when I sweep off the roof I will find a charnal ground of shells and tiny frog bones.

The heron are supposed to breed in swamps and bayous, but here they are in the City of Living Garbage, nesting in the Boggy Creek Watershed. Maybe they hunt in the greenbelt where the creek flows a few blocks away. Every year they migrate from Central America, the Caribbean, and mangroves in the Yucatan up to Austin and beyond. They seem so worldly and free, flying in from places I've never been, without airplanes or passports. When winter comes, the heron will fly South to overwinter in some remote swamp or art yard, their bodies composed in far-flung landscape patches. 

Inside the vivid blue eggshells are white clinging membranes that dry into paper. On Easter I met an Australian painter and ceramicist who uses only dirt for pigment. He told me the color blue is hard to find in soil, but red, brown, black, white, yellow dirt pigments are abundant in the landscape. Blue and green can't be found except as subtle hues. He shows me the pan flute he made from different-sized plastic bottles held together with blended-up paper pulp, painted with dirt. He records ambient sounds of nonhuman worlds, then layers in his own music. The heron let out throaty caws. Now we can hear the fuzzy hatchlings peep for food.

The egg is the throwaway, temporary habitat, a little atmosphere of its own nested in this one. We put the eggshells in the Museum of Ephemerata. What fragile, worthless things--why save them at all? Collecting the eggshells borders on hoarding, but the blue is so beautiful.

2012