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.
Wednesday, September 28, 2011
Tuesday, September 27, 2011
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.
Posted on FlowTV.org.
Friday, September 9, 2011
The Symbiont
The teaspoon of Ephemerata Gardens soil I mailed to the lab tested positive for the Toxoplasma tinkerans brain parasite. I haven’t tested myself, but I’m sure I’m infected. The team of soil ecologists that discovered T. tinkerans last year hypothesize that the endosymbiont alters its host’s behavior by stimulating an obsessive collecting and arranging of objects, generating a landscape patch cluttered with rusty metals. Like the bacteria in early biobattery experiments, T. tinkerans eats iron oxide in soil solutions by prying off oxygen and metabolizing the freed up protons, giving the ground a mild electrical charge. The parasite reproduces solely in human temporal lobes. Hoarders, scrap metal collectors, and people with art yards simultaneously cultivate and are cultivated by the symbiont.
Inside each yardist’s brain is another small garden where the yardist symbiont dwells. Like its close relative Toxoplasma gondii, a transpececific brain parasite that co-evolved with cats, T. tinkerans makes its hosts do things and behave certain ways. Most notably, yardists begin to feel unsettled and uncomfortable anywhere but their yard. They must constantly tinker, becoming part of a living machine. They grow curiously affectionate towards certain kinds of trash, attracting it to them as if by arcane magnetism. The yardist symbiont cultivates secret powers in its hosts that range from an attunement to particular objects in roadside junk, to a dreamy state of awareness or sense of timelessness in which garbage gleams with promises of what it might become. Hosts become overly sensitive to a space's aesthetic saturation, in particular an atmosphere's maintenance needs and patterns of decomposition. Perhaps the oddest and most dangerous symptom is a nascent sense that money isn't everything which, untreated, can grow over the years into an acute dislike of accumulating capital in favor of blatently wasting time. Affection for the valueless eclipses the desire to amass set forms of value -- as if currency, not trash, was dirty and polluted.
How does the yardist symbiont spread? At first I imagined a mycelial matt camouflaged as ordinary sewer pipes and fiber-optic cables creeping out from the Cathderal of Junk beneath the rest of Austin. Working in the garden one day, the yardist-to-be extracts a small twist of wire from the soil and contracts the symbiont. More realistically, the vectors are not underground, but the environments themselves. Just setting foot there you run the risk of contracting the symbiont. It even seems to transmit over TV -- an invisible microbe that infects through visual media. Perhaps it spreads through tainted gifts, like the doll arm, head on a stick, and mullein pups Scott Stevens trasnplanted from Smut Putt Heaven to live in Ephemerata Gardens. Before you know it, an art environment takes over your yard and life. Over the course of a decade, structures like the East/West Gate to the Garden of Eden at Further Farms coagulate from a multitude of rusty taproots emerging directly from the yard. You start eyeing roadside junk piles, compulsively collecting body parts for the yardist symbiont to assimilate into its ever-creeping form.
Inside each yardist’s brain is another small garden where the yardist symbiont dwells. Like its close relative Toxoplasma gondii, a transpececific brain parasite that co-evolved with cats, T. tinkerans makes its hosts do things and behave certain ways. Most notably, yardists begin to feel unsettled and uncomfortable anywhere but their yard. They must constantly tinker, becoming part of a living machine. They grow curiously affectionate towards certain kinds of trash, attracting it to them as if by arcane magnetism. The yardist symbiont cultivates secret powers in its hosts that range from an attunement to particular objects in roadside junk, to a dreamy state of awareness or sense of timelessness in which garbage gleams with promises of what it might become. Hosts become overly sensitive to a space's aesthetic saturation, in particular an atmosphere's maintenance needs and patterns of decomposition. Perhaps the oddest and most dangerous symptom is a nascent sense that money isn't everything which, untreated, can grow over the years into an acute dislike of accumulating capital in favor of blatently wasting time. Affection for the valueless eclipses the desire to amass set forms of value -- as if currency, not trash, was dirty and polluted.
How does the yardist symbiont spread? At first I imagined a mycelial matt camouflaged as ordinary sewer pipes and fiber-optic cables creeping out from the Cathderal of Junk beneath the rest of Austin. Working in the garden one day, the yardist-to-be extracts a small twist of wire from the soil and contracts the symbiont. More realistically, the vectors are not underground, but the environments themselves. Just setting foot there you run the risk of contracting the symbiont. It even seems to transmit over TV -- an invisible microbe that infects through visual media. Perhaps it spreads through tainted gifts, like the doll arm, head on a stick, and mullein pups Scott Stevens trasnplanted from Smut Putt Heaven to live in Ephemerata Gardens. Before you know it, an art environment takes over your yard and life. Over the course of a decade, structures like the East/West Gate to the Garden of Eden at Further Farms coagulate from a multitude of rusty taproots emerging directly from the yard. You start eyeing roadside junk piles, compulsively collecting body parts for the yardist symbiont to assimilate into its ever-creeping form.
T. tinkerans' discovery not only lets us better understand the psychobiogeophysical entities that have stimulated the growth of the City of Living Garbage. More importantly, we can propagate the City by inoculating human populations with the T. tinkerans endosymbiont.
2021
Friday, September 2, 2011
Microscopic Cities
When you step into Ephemerata Gardens, right beneath your feet is a densely populated urban population, the sprawling megalopolis of Soilandia. Of all "Do-It-Yourself" activities, perhaps DIY soil is the one you do least by yourself. Compost heaps are buslting microscopic cities of macroinvertebrate mansions, amoeba apartments, and fungal factories. They say a teaspoon of good soil is home to 100 million to 1 billion bacteria. And the Archaea! Strange to think human food security depends on this galaxy of microbes. So much for doing it yourself -- only we can make soil in an ongoing collaboration with life forms that know just what to do with dead things.
In the drought/recession fall of 2008, Carol Ann Sayle's tour of Boggy Creek Farm opened with an invocation of threat to this we. “I know why you’re here. Things are tough, and we’re all worried. We need true homeland security.” Around sixty people gathered for the tour, most of them in their later years unlike the twenty-somethings drawn to the Rhizome Collective's RUST workshop.
Carol Ann addresses the crowd from her front porch. The house is one of the three oldest structures in Austin, built in 1840 in the bottomlands of the Colorado River with its rich alluvial soil (back when all farming was "organic"). Farms have surrounded the house for most of a century and a half. Carol Ann and her partner Larry Butler bought the place in 1992 and gave it its current name in honor of the creek with concrete banks a block away. Now three other organic farms share the neighborhood. The landscape patch's memories keep popping out of the soil in the form of wild amaranth and horseshoes. Archaeologists from the University of Texas at Austin have come to dig for 19th century debris like kitchen garbage, pottery shards, bones. On the Farm’s website, Carol Ann recognizes the house itself as “a physical testament to the labors of the African slaves who undoubtedly had a hand in its construction, and who worked the fields of this antebellum plantation. This page is dedicated to their memory.”
Our tour meanders from the porch to the front garden, where the gravel driveway and rocks in the soil soak up heat and keep the field a few degrees warmer than the back garden. Carol Ann's tour isn't about plants, but topsoil. “Focus on the soil and forget about the plants.” We linger around the compost heaps, twenty-foot long rows as tall as a person. Every few days they need to be turned with a front-end loader to keep the temperature right and replenish the oxygen inside. On cold days they steam when turned. Carol Ann describes soil production as “not an exact science ... more of an art or common sense.”
The art of composting involves science labs that analyze soil samples. Based on lab results, they add molasses, green sand, sulfur, and other amendments to the compost before putting it in the gardens. Getting the right ratio of 1 part nitrogen to 20 parts carbon begins in the compost heaps. Green plants and chicken manure make for good nitrogen, while fallen leaves, twigs and branches, dry grass, and other brown and brittle trash bulk up the carbon. Carol Ann sees the compost heaps as a form of carbon sequestration, as if they've trapped part of the sky.
Boggy Creek Farm used to collect the neighborhood’s curbside bags full of leaves. Sanitation workers appreciated their free labor. Now landscapers drop off their trash. The compost heaps need to be kept moist as a wrung out sponge to “keep the microbes happy.” Carol Ann pictures them in their giant home, “eating and pooping, mating and going on vacations.... there’s animals in there!” People stick their hands into the warm heaps as we walk by to the back garden beds.
Behind the 200-foot long beds is a small orchard of fig and citrus trees, and some random heaps of slowly decomposing rhubarb stalks. Because the bottomlands’ high clay content causes bad drainage, the beds are raised, but not by building them up in containers. Instead, paths have been dug down between the rows of plants. Before seeding new crops, the farmers walk the rows with a machine that gently fluffs the top few inches of beds that had gone flat over the growing season -– the no-tilling method.
Carol Ann cautions not to do this with a shovel because the beds are home to thriving civilizations. “Those civilizations die when you throw them up in the air like that. That’s what’s happening in Iraq and the Gaza Strip.” Carol Ann points to the chicken coop next to her house. The egg hens seem to know they won’t be killed, so they have “a sense of peace about them” that harmonizes with the microbe civilizations in the raised soil beds. Sometimes this sense of peace rubs off on visitors to the farm. Kids play in a shallow dirt hole near the coop, pushing around battered plastic dumptrucks in the pecan shade.
While soils amended with chemical fertilizers are composed of only .3% organic matter, the labs say 3-4% of Boggy Creek’s soil is rotting plants, manure, worms, fungi, microbes, and the like. To disturb the beds as little as possible, the farmers harvest plants by cutting them off at the stalk. Their nutrient-rich roots can decompose in the soil, and bacteria, nematodes, mycorrhizae, and other organisms are not yanked out of their civilizations. Then the machine fluffs the top few inches of soil, and people use hoes to pull decomposing mulch in the footpaths up onto the beds. Finally, they add an inch of revitalizing compost. A mulch of dry leaves or hay laid down on the paths holds in moisture and marks where to step. Now the rows are ready for planting seeds.
The cultivation of trash into soil takes time, machines, and knowledge. Without people an inch of topsoil forms in 300 to 1000 years, while with people's help, a tree can turn into compost in 1 to 100 years. To get an idea of the labor involved, replace the front-end loader that turns compost heaps with human-powered pitchforks, or the mulching machine with a hand-axe. But the ancient soil civilizations do all the essential work of transforming death into life. Soil is living dust, forming in geological time.
Ephemerata Garden's soil is a probiotic liquid, oozing to the landscape patch's low spots, churned by chickens scratching for earthworms and grubs. It is a vast seed packet, a surprising mycelial network with mushrooms that manifest overnight. The soil gets loamier every year. We build new beds with bag-it-yourself dirt from Natural Gardener, revitalize with locally-produced compost sold at Home Despot. We discover garbage pits of glass bottles and shards, a little walkway of paving stones. The soil city is a random museum where rusty nails, batteries, a pocket watch, half a pair of novelty hillbilly dentures, and other flotsam bob to the surface. The City of Living Garbage is built on this dense subsurface civilization. A restless churning of life forms and their layered traces of inhabitation.
In the drought/recession fall of 2008, Carol Ann Sayle's tour of Boggy Creek Farm opened with an invocation of threat to this we. “I know why you’re here. Things are tough, and we’re all worried. We need true homeland security.” Around sixty people gathered for the tour, most of them in their later years unlike the twenty-somethings drawn to the Rhizome Collective's RUST workshop.
Carol Ann addresses the crowd from her front porch. The house is one of the three oldest structures in Austin, built in 1840 in the bottomlands of the Colorado River with its rich alluvial soil (back when all farming was "organic"). Farms have surrounded the house for most of a century and a half. Carol Ann and her partner Larry Butler bought the place in 1992 and gave it its current name in honor of the creek with concrete banks a block away. Now three other organic farms share the neighborhood. The landscape patch's memories keep popping out of the soil in the form of wild amaranth and horseshoes. Archaeologists from the University of Texas at Austin have come to dig for 19th century debris like kitchen garbage, pottery shards, bones. On the Farm’s website, Carol Ann recognizes the house itself as “a physical testament to the labors of the African slaves who undoubtedly had a hand in its construction, and who worked the fields of this antebellum plantation. This page is dedicated to their memory.”
Our tour meanders from the porch to the front garden, where the gravel driveway and rocks in the soil soak up heat and keep the field a few degrees warmer than the back garden. Carol Ann's tour isn't about plants, but topsoil. “Focus on the soil and forget about the plants.” We linger around the compost heaps, twenty-foot long rows as tall as a person. Every few days they need to be turned with a front-end loader to keep the temperature right and replenish the oxygen inside. On cold days they steam when turned. Carol Ann describes soil production as “not an exact science ... more of an art or common sense.”
The art of composting involves science labs that analyze soil samples. Based on lab results, they add molasses, green sand, sulfur, and other amendments to the compost before putting it in the gardens. Getting the right ratio of 1 part nitrogen to 20 parts carbon begins in the compost heaps. Green plants and chicken manure make for good nitrogen, while fallen leaves, twigs and branches, dry grass, and other brown and brittle trash bulk up the carbon. Carol Ann sees the compost heaps as a form of carbon sequestration, as if they've trapped part of the sky.
Boggy Creek Farm used to collect the neighborhood’s curbside bags full of leaves. Sanitation workers appreciated their free labor. Now landscapers drop off their trash. The compost heaps need to be kept moist as a wrung out sponge to “keep the microbes happy.” Carol Ann pictures them in their giant home, “eating and pooping, mating and going on vacations.... there’s animals in there!” People stick their hands into the warm heaps as we walk by to the back garden beds.
Behind the 200-foot long beds is a small orchard of fig and citrus trees, and some random heaps of slowly decomposing rhubarb stalks. Because the bottomlands’ high clay content causes bad drainage, the beds are raised, but not by building them up in containers. Instead, paths have been dug down between the rows of plants. Before seeding new crops, the farmers walk the rows with a machine that gently fluffs the top few inches of beds that had gone flat over the growing season -– the no-tilling method.
Carol Ann cautions not to do this with a shovel because the beds are home to thriving civilizations. “Those civilizations die when you throw them up in the air like that. That’s what’s happening in Iraq and the Gaza Strip.” Carol Ann points to the chicken coop next to her house. The egg hens seem to know they won’t be killed, so they have “a sense of peace about them” that harmonizes with the microbe civilizations in the raised soil beds. Sometimes this sense of peace rubs off on visitors to the farm. Kids play in a shallow dirt hole near the coop, pushing around battered plastic dumptrucks in the pecan shade.
While soils amended with chemical fertilizers are composed of only .3% organic matter, the labs say 3-4% of Boggy Creek’s soil is rotting plants, manure, worms, fungi, microbes, and the like. To disturb the beds as little as possible, the farmers harvest plants by cutting them off at the stalk. Their nutrient-rich roots can decompose in the soil, and bacteria, nematodes, mycorrhizae, and other organisms are not yanked out of their civilizations. Then the machine fluffs the top few inches of soil, and people use hoes to pull decomposing mulch in the footpaths up onto the beds. Finally, they add an inch of revitalizing compost. A mulch of dry leaves or hay laid down on the paths holds in moisture and marks where to step. Now the rows are ready for planting seeds.
The cultivation of trash into soil takes time, machines, and knowledge. Without people an inch of topsoil forms in 300 to 1000 years, while with people's help, a tree can turn into compost in 1 to 100 years. To get an idea of the labor involved, replace the front-end loader that turns compost heaps with human-powered pitchforks, or the mulching machine with a hand-axe. But the ancient soil civilizations do all the essential work of transforming death into life. Soil is living dust, forming in geological time.
Ephemerata Garden's soil is a probiotic liquid, oozing to the landscape patch's low spots, churned by chickens scratching for earthworms and grubs. It is a vast seed packet, a surprising mycelial network with mushrooms that manifest overnight. The soil gets loamier every year. We build new beds with bag-it-yourself dirt from Natural Gardener, revitalize with locally-produced compost sold at Home Despot. We discover garbage pits of glass bottles and shards, a little walkway of paving stones. The soil city is a random museum where rusty nails, batteries, a pocket watch, half a pair of novelty hillbilly dentures, and other flotsam bob to the surface. The City of Living Garbage is built on this dense subsurface civilization. A restless churning of life forms and their layered traces of inhabitation.
2012
Saturday, August 27, 2011
Slow Trash
One of the yard's back corners is our slow trash landscape patch. Five foot circle of food grade compost. Six foot tall brush pile with lazy anoles. One circle of wire mesh holds in pine kitty litter, and another, unbleached baby diapers. Taking up about a hundred square feet, this garbage collector leisurely breaks down our household biodegradable waste into soil and mulch for the yard. Who knows how long it will take?
Our kitty litter and diaper composters are cylinders of wire mesh leftovers from garden fencing. Cardboard and green glass bottles stuck through the mesh keep the kitty litter in place. Plates, napkins, forks, and food from our wedding form the diaper column's bottom strata. Two-and-a-half year old diapers on the second layer are decomposing nicely, almost ready to become mulch. Very few of the diapers are poopy. Some agave and prickly pear cactus on top seem to be surviving. We never stir these piles to speed up the mulching process, because we have all the time in the world.
Once in a while I fluff the food-grade compost with a pitchfork and throw in some water. Maybe next spring it will be ready to use as a soil ammendment. Meanwhile we buy bags of "triple power compost" locally produced by Organics By Gosh. In 2011 the Keep Austin Beautiful program arranged a tour of Organics By Gosh's composting facility. Giant machines work among twenty-foot tall compost mounds – valleys of death full of vegetable scraps, meat, and bones. Dillo Dirt is also bagged here.*** Giant composting facilities like these are the very large intestines of the City of Living Garbage.
On the tour we learn that landscaping companies, grocery store chains, and large public events all contribute organic waste to the composting facility. The prison nearby is the biggest supplier of food waste: the worse the food, the more waste. Hospitals are finally getting on board. Organics by Gosh is one of only two facilities in Austin permitted by the Texas Commission on Environmental Quality regulatory agency to process meat, bones, fat, and dairy. Their compost piles are so large they form valleys around you that steam when mixed with the front-end loader. Microbial digestion inside the piles pushes their temperature up to 160˚ F, killing off pathogens and slowly cooking non-vegetative trash.
To keep the microorganisms happy, the piles should be moist, so in the summer they spray water from a rain and well water retention pond on the low side of the property. Rainwater coming off the piles picks up microbial life, making the pond an accidental vat of compost tea. When it gets too hot, they do not water the piles since moisture soaks up solar heat and would cook the life forms inside.
As the front-end loader stirs up a pile, wafts of manure and carrion float by. Biomass ages in the piles for 9 months to two years before being ground up in a Dr. Seuss contraption with a long rotating tube and conveyor belt that churns out finished humus. It falls in a perfect cone that no longer stinks. Mo, one of three Organics by Gosh employees leading the tour, says “that’s how you make dirt look good.” It also looks good on my baby’s face. He’s been clambering up the foot of the mounds, digging his hands in and smearing it all over.
At whatever scale, making soil out of trash puts us in the position of running a science experiment. Hands-on, self-taught ecological knowledge comes through slow learning over the years in close collaboration with microorganisms. It also puts you into daily relationships with nasty trash. In response to concerns about soil loss and overfull landfills, or localizing organic food production to cut out oil and petrochemicals, people proudly and affectionately hoard strange trash like my kitty litter and diapers. There's the guy who discovered that pine mulch breaks down into great soil in about a year. "The following January, and every year since, I have obtained all of the Christmas trees that my city collected."**** And the visitor to Ephemerata Gardens who collects hair from eight salons every month. Organics By Gosh wants your rotten meat.
Something happens to slow trash even before it becomes good compost, as if the untouchable category itself had decomposed. I find myself liking garbage, wanting to get to know it a little better, spend some time together. Curious about the life forms it attracts, like the giant zipper spider that spins its web right over the compost, or the seeds that slow trash sprouts after a good rain.
*Nancy Wride, “Plan to Mine Clay for Litter Boxes Stirs Cat Fight in Desert,” Los Angeles Times, April 6, 2002, http://articles.latimes.com/2002/apr/06/news/mn-36559. Also see Scott Sonner, “Nevada Balances Economy, Environment in Cat Litter Fight,” The Berkeley Daily Planet, December 14, 2001, http://www.berkeleydailyplanet.com/issue/2001-12-14/article/8969?headline=Nevada-balances-economy-environment-in-cat-litter-fight.
**Ann Ronald, Oh, Give Me A Home: Western Contemplations, Norman: University of Oklahoma Press (2006), 129.
***Dillo Dirt is a product of the Hornsby Bend Biosolids Management Plant. Sludge from Austin’s two wastewater treatment plants is pumped to the Hornsby Bend facility where it is mixed into mulched leaves and branches from curbside pickup and allowed to age long enough to ensure all pathogens in the sludge have been cooked out of existence. If you buy Dillo Dirt in Austin, chances are you are purchasing your own shit.
****Tom Clothier, "Making Your Own Soil," http://tomclothier.hort.net/page24.html. Clothier's site is a proto-gardening blog that started in the 1990s, a repository of experience-based, self-educated ecological knowledge. Clothier's interests range from biological pest control to the packets he has recieved by "trading seeds around the world." Over the years Clothier carefully tests the theories of experts while advancing his own Fortean concepts: "I have a theory that seeds are living breathing entities that appreciate a bit of air exchange" (http://tomclothier.hort.net/page45.html).
The word trash (originally Old Norse for "fallen leaves and twigs") litters the English language with all kinds of referents, from broken objects to undervalued people. It shares in a dirty ontological category of stinky, rotten, untouchable things, dangerous with polluting powers. Trash is also an action. Mulch comes from the Proto-Indo-Eurpean base "to grind up," while litter’s etymology indexes how life forms lie down to sleep, reproduce, and shed waste. "Litter" referred to straw strewn on the ground for beds, but also all the animals born to a mother in a birthing bed. By the 1900s, "litter" had become a synonym for an undifferentiated mass of trash, garbage, waste, refuse, and rubbish clotting urban areas. In 1948, Ed Lowe marketed a clay-based product called Kitty Litter to replace the sand used in cat bathrooms. The name stuck as a generic one for all brands of litter box fill.
Like many other commodities, cat litter has a worrisome ecological life-cycle. Around 2 million tons of kitty litter enters landfills every year to join an estimated 3.4 million tons of diapers in a geological lump. Because the clay-based litter we used couldn’t be composted, we put it in plastic bags and threw it in the trashcan, the heaviest part of our household wastestream. By switching to pine litter that we compost in the yard, we cut the weight of our garbage roughly in half (but we still bag and toss the toxoplasmosis-laden feces).
The problems with kitty litter’s final resting place only add to its troubling origins in clay and bentonite strip mines. In 2001 the Oil-Dri Corporation (makers of Cat’s Pride and Jonny Cat brand litters) proposed new strip mining operations in Nevada’s Hungry Valley to save on shipping 140 thousand tons of litter to the western US. Their mine would be located 100 yards from the Reno-Sparks Indian Colony, prompting Paiute, Shoshone, and Washoe to fight the project with nonprofit environmental groups like Earthworks and the Sierra Club. Their concerns include respiratory illnesses caused by dust blowing in from the mine, potential groundwater contamination from arsenic used in processing, increased traffic, noise and light pollution, and irreversible violence against the land. In the words of colony resident Diana Coffey, “I want my grandbabies to have this land, and a lot of this has remained untouched for thousands of years ... Our people never had written language, so everything was handed down from showing and telling in stories. That means it needs to be quiet.”* The Washoe County Commission denied Oil-Dri the right to mine, but the corporation is suing for damages in federal court based on an outmoded 1872 Mining Law.** The Reno-Sparks Indian Colony remains poised to fight the kitty litter strip mine.
The problems with kitty litter’s final resting place only add to its troubling origins in clay and bentonite strip mines. In 2001 the Oil-Dri Corporation (makers of Cat’s Pride and Jonny Cat brand litters) proposed new strip mining operations in Nevada’s Hungry Valley to save on shipping 140 thousand tons of litter to the western US. Their mine would be located 100 yards from the Reno-Sparks Indian Colony, prompting Paiute, Shoshone, and Washoe to fight the project with nonprofit environmental groups like Earthworks and the Sierra Club. Their concerns include respiratory illnesses caused by dust blowing in from the mine, potential groundwater contamination from arsenic used in processing, increased traffic, noise and light pollution, and irreversible violence against the land. In the words of colony resident Diana Coffey, “I want my grandbabies to have this land, and a lot of this has remained untouched for thousands of years ... Our people never had written language, so everything was handed down from showing and telling in stories. That means it needs to be quiet.”* The Washoe County Commission denied Oil-Dri the right to mine, but the corporation is suing for damages in federal court based on an outmoded 1872 Mining Law.** The Reno-Sparks Indian Colony remains poised to fight the kitty litter strip mine.
Our kitty litter and diaper composters are cylinders of wire mesh leftovers from garden fencing. Cardboard and green glass bottles stuck through the mesh keep the kitty litter in place. Plates, napkins, forks, and food from our wedding form the diaper column's bottom strata. Two-and-a-half year old diapers on the second layer are decomposing nicely, almost ready to become mulch. Very few of the diapers are poopy. Some agave and prickly pear cactus on top seem to be surviving. We never stir these piles to speed up the mulching process, because we have all the time in the world.
Once in a while I fluff the food-grade compost with a pitchfork and throw in some water. Maybe next spring it will be ready to use as a soil ammendment. Meanwhile we buy bags of "triple power compost" locally produced by Organics By Gosh. In 2011 the Keep Austin Beautiful program arranged a tour of Organics By Gosh's composting facility. Giant machines work among twenty-foot tall compost mounds – valleys of death full of vegetable scraps, meat, and bones. Dillo Dirt is also bagged here.*** Giant composting facilities like these are the very large intestines of the City of Living Garbage.
On the tour we learn that landscaping companies, grocery store chains, and large public events all contribute organic waste to the composting facility. The prison nearby is the biggest supplier of food waste: the worse the food, the more waste. Hospitals are finally getting on board. Organics by Gosh is one of only two facilities in Austin permitted by the Texas Commission on Environmental Quality regulatory agency to process meat, bones, fat, and dairy. Their compost piles are so large they form valleys around you that steam when mixed with the front-end loader. Microbial digestion inside the piles pushes their temperature up to 160˚ F, killing off pathogens and slowly cooking non-vegetative trash.
To keep the microorganisms happy, the piles should be moist, so in the summer they spray water from a rain and well water retention pond on the low side of the property. Rainwater coming off the piles picks up microbial life, making the pond an accidental vat of compost tea. When it gets too hot, they do not water the piles since moisture soaks up solar heat and would cook the life forms inside.
As the front-end loader stirs up a pile, wafts of manure and carrion float by. Biomass ages in the piles for 9 months to two years before being ground up in a Dr. Seuss contraption with a long rotating tube and conveyor belt that churns out finished humus. It falls in a perfect cone that no longer stinks. Mo, one of three Organics by Gosh employees leading the tour, says “that’s how you make dirt look good.” It also looks good on my baby’s face. He’s been clambering up the foot of the mounds, digging his hands in and smearing it all over.
At whatever scale, making soil out of trash puts us in the position of running a science experiment. Hands-on, self-taught ecological knowledge comes through slow learning over the years in close collaboration with microorganisms. It also puts you into daily relationships with nasty trash. In response to concerns about soil loss and overfull landfills, or localizing organic food production to cut out oil and petrochemicals, people proudly and affectionately hoard strange trash like my kitty litter and diapers. There's the guy who discovered that pine mulch breaks down into great soil in about a year. "The following January, and every year since, I have obtained all of the Christmas trees that my city collected."**** And the visitor to Ephemerata Gardens who collects hair from eight salons every month. Organics By Gosh wants your rotten meat.
Something happens to slow trash even before it becomes good compost, as if the untouchable category itself had decomposed. I find myself liking garbage, wanting to get to know it a little better, spend some time together. Curious about the life forms it attracts, like the giant zipper spider that spins its web right over the compost, or the seeds that slow trash sprouts after a good rain.
**Ann Ronald, Oh, Give Me A Home: Western Contemplations, Norman: University of Oklahoma Press (2006), 129.
***Dillo Dirt is a product of the Hornsby Bend Biosolids Management Plant. Sludge from Austin’s two wastewater treatment plants is pumped to the Hornsby Bend facility where it is mixed into mulched leaves and branches from curbside pickup and allowed to age long enough to ensure all pathogens in the sludge have been cooked out of existence. If you buy Dillo Dirt in Austin, chances are you are purchasing your own shit.
****Tom Clothier, "Making Your Own Soil," http://tomclothier.hort.net/page24.html. Clothier's site is a proto-gardening blog that started in the 1990s, a repository of experience-based, self-educated ecological knowledge. Clothier's interests range from biological pest control to the packets he has recieved by "trading seeds around the world." Over the years Clothier carefully tests the theories of experts while advancing his own Fortean concepts: "I have a theory that seeds are living breathing entities that appreciate a bit of air exchange" (http://tomclothier.hort.net/page45.html).
2012
Thursday, August 18, 2011
Rust
Iron oxides grow like lichens on Ephemerata Garden's cast-iron bathtub ponds, bottle cap snakes, cat food tins, and other metal detritus. Rust is an agent of collapse that can take out bridges and buildings. In our yard it has an aesthetic presence, something beautiful about its deep red flakiness breaking up painted surfaces. Iron molecules give both rust and blood their red, and both reveal themselves as wounds.
In 2008 I attended the weekend-long Radical Urban Sustainability Training (RUST) workshop at the Rhizome Collective’s live-in warehouses. Taught by Rhizome Collective co-founders Scott Kellogg and Stacy Pettigrew,* ecological engineer Lauren Ross, and assorted guests, RUST showcased the warehouses' permaculture systems like composting toilets, pedal-powered machines, rain catches, and gray water wetlands. RUST reimagines sustainability from a community-based DIY perspective, developing new practices that improvise with the richness of urban wastestreams. The workshop is a hands-on introduction to "autonomous technologies" that locally produce food, water, shelter, energy, waste management, health care, and the bioremediation of urban toxins. RUST also doubles as a crash-course in environmental and climate justice issues, with a critique of contemporary sustainable urban development as a new form of gentrification. Because “sustainability” had already been co-opted by neo-liberal capitalists, Scott used the term “radical sustainability” to insist on the entwined radix or roots beneath social and environmental injustices. The RUST workshop is an informal education in how to build the City of Living Garbage out of a world that's falling apart.
When the Rhizome Collective moved in to the warehouses, they depaved the asphalt loading bay, tearing up impermeable cover to make a thriving food garden where bees, butterflies, and migratory birds came to eat. They salvaged mulch from landscaping companies and added homemade compost tea. The compacted soil grew rich, shot through with white threads of mychorrhizal networks. In just a few years the landscape patch became productive and healthy. They free ranged chickens in the junkyard next door until the neighbor complained. They grew shitake and oyster mushrooms on logs, raised tilapia fish, practiced vermiculture, composted humanure – anything for food! They dreamed of gradually transforming the warehouses into an off-the-grid homestead – a zero-waste, closed-loop life support system.
In March 2009, the building was condemned by the Code Compliance Department. Eviction came after nine years of the City supporting and praising Rhizome Collective projects while officially overlooking their code violations. Building inspectors cited a dozen violations including exposed gray water, illegal composting toilets, and a second story addition built on the warehouse roof without a permit. Homespun electrical wiring didn’t help. Code gave a two-week notice of eviction to the nonprofits that operated out of the warehouses—Bikes Across Borders, Inside Books, and Food Not Bombs. The Rhizome Collective fought to extend the eviction to a month, then everybody moved out, struggling to find new homes for the bike shop, prisoner’s library, and kitchen. It was the traumatic end of an experiment in post-petroleum collapse urban futurism. The experiments continue on the south Austin brownfield deeded to the Rhizome Collective as part of an Environmental Protection Agency cleanup grant, now being turned into a recycling center by Ecology Action. Scott and Stacy moved on to Albany, New York, to found the Radix Ecological Sustainability Center, where current RUST (renamed Regenerative Urban Sustainability Training) workshops continue.
During the workshop I attended, Scott led participants around to aquaculture ponds full of tilapia, duckweed, and shrimp, a scavenged satellite dish arrayed with mirrors that focuses sunlight to ignite cardboard (or boil water), and a homemade wind generator that needed some work. The tour’s tableaux let you picture doing the various DIY projects, living the urban homestead life. Round the corner of the “microlivestock” pen and see Scott posing on a milk crate with the beautiful turkey. Dim the lights and watch him demonstrate igniting a torch of homemade methane gas produced by rotting water hyacinth. One by one, a slew of little projects, performed and described, kick-started a self-educated learning process that might not ever stop (or start). One thing blurs into the next as we run through far too many DIY projects to cram into one weekend.
Dogs, a turkey, chickens, machines, and all sorts of other nonhumans swarm at RUST. I hear roosters and someone playing piano while Lauren talks about water security. While learning about a Tupperware worm box that makes “black gold” for the garden, Scott’s daughter tries to feed the dog worms. Ignacio from Bikes Across Borders demonstrates a bike-powered blender driven by a modified roller skate wheel against the back tire, and offers us to taste the smoothie. RUST learning happens with multisensory events going on as parts of the scene. Whistling volunteers make lunch in the kitchen at the back of the big room where another presenter, Rafter Sass, extols “liberation ecology” – a mode of production that moves from extraction and exploitation to intense cultivation and connectivity. Having a kitchen without walls at the back of the lecture room complemented his ideas, keeping you in touch with the smells and sounds of cooking. What might be considered interruptions are nurtured by how spaces overlap, the kids playing in the nursery somehow adding to a multifaceted sensory education.
The ecological home improvement projects that RUST enacts are not as simple as replacing a filament light bulb with a fluorescent – something you can do and forget about. Instead, they fold the individual into the processes that make houses work, amplifying and refraining the house and city as a living ecosystem, inviting new species into the mix of machinic components. Appropriate technologies, animals, plants, and microbiological life forms serve as the technical means for collective security. Since you are their keystone species, these systems of beings require you to do things like tending water gardens or worm boxes. Rather than promising a final emancipation, altering the house with patchworks of DIY sustainability pulls you into relationships of dependency, as if parts of your house had become pets. Your garbage disposal turned into chickens. The compost heap needs fluffing again. But you also depend on these entities to keep the house going. Cultivation becomes the sharing of vulnerability, the individual body and its habits redistributed among interdependent life forms in a living machine. The RUST workshop teems with dreamy possibilities of an emergent probiotic urbanism – a sort of DIY superorganic bioindustrial revolution.
The DIY projects and community organizing taught at RUST are ways to mitigate fear by tinkering with the material contours of catastrophe, to get a grip on something in the midst of a world that seems to be falling apart fast. Crucially, their small-scale solutions to big problems draw individuals into new social networks and ongoing relationships of caring for living things. Fear, anxiety, and the gloom of future catastrophes might give way to other emotions, like the surprises and pleasures of habitats bursting with life. DIY tinkering opens up a slowness that "begins to reduce the anxious rush" of the time-is-money world.**
RUST also attunes the imagination to the scientific-invisible. Illustrations in the workshop handouts zoom in on earthworms with bacteria in their digestive tracts clutching napkins, forks, and knives, eating decomposition – a giddy scaling of beings within beings. Using a backlit microscope we peer in on nematodes, bacteria, and fungal mycilia in a slide of worm box dirt. Lauren Ross lectures on chemicals in urban water and soil, bioremediation using wetlands or compost tea, and the microbe agents in healthy soil ecologies. She warns us about the bad health effects of chemical pollutants in the food and water cycling between our bodies and urban landscapes. Chlorinated tap water sterilizes the soil in your garden, so we should all use rainwater. But you need to ensure that your rain catchments are not contaminating the water. Be suspicious of urban soil toxicity: homegrown organic veggies could carry loads of lead or heavy metals. Lauren promoted testing water and soil to mitigate these risks.
Rust is not necessarily bad for food-growing soil -- a little extra iron for your blood. Just below Ephemerata Garden's surface is a layer of burned timber and rusty nails. A little house in our backyard got struck by lightning and burned down. They just flattened it out across the ground and added a few inches of dirt. Building the City of Living Garbage involves major multispecies labor in remediating landscape patches from the ground down. Everything depends on the soil, and living soil depends on water.
*Kellogg and Pettigrew’s book Toolbox for Sustainable City Living: A Do-it-ourselves Guide (South End Press, 2008), wonderfully illustrated by Juan Martinez, goes into many of the environmental justice arguments and sustainable systems featured at RUST.
**In "Grassroots Modernism as Autonomous Practice" (Journal of Aesthetics and Protest 8, 2011), Meg Wade ponders critiques that DIY's little solutions are defeatist pitfalls of parochialism. "If what we need is in fact a change in the scale of our focus – a refusal to expand ourselves to the global reach and pace at which the persisting systems of exploitation encourage us to operate – what then?"
In 2008 I attended the weekend-long Radical Urban Sustainability Training (RUST) workshop at the Rhizome Collective’s live-in warehouses. Taught by Rhizome Collective co-founders Scott Kellogg and Stacy Pettigrew,* ecological engineer Lauren Ross, and assorted guests, RUST showcased the warehouses' permaculture systems like composting toilets, pedal-powered machines, rain catches, and gray water wetlands. RUST reimagines sustainability from a community-based DIY perspective, developing new practices that improvise with the richness of urban wastestreams. The workshop is a hands-on introduction to "autonomous technologies" that locally produce food, water, shelter, energy, waste management, health care, and the bioremediation of urban toxins. RUST also doubles as a crash-course in environmental and climate justice issues, with a critique of contemporary sustainable urban development as a new form of gentrification. Because “sustainability” had already been co-opted by neo-liberal capitalists, Scott used the term “radical sustainability” to insist on the entwined radix or roots beneath social and environmental injustices. The RUST workshop is an informal education in how to build the City of Living Garbage out of a world that's falling apart.
When the Rhizome Collective moved in to the warehouses, they depaved the asphalt loading bay, tearing up impermeable cover to make a thriving food garden where bees, butterflies, and migratory birds came to eat. They salvaged mulch from landscaping companies and added homemade compost tea. The compacted soil grew rich, shot through with white threads of mychorrhizal networks. In just a few years the landscape patch became productive and healthy. They free ranged chickens in the junkyard next door until the neighbor complained. They grew shitake and oyster mushrooms on logs, raised tilapia fish, practiced vermiculture, composted humanure – anything for food! They dreamed of gradually transforming the warehouses into an off-the-grid homestead – a zero-waste, closed-loop life support system.
In March 2009, the building was condemned by the Code Compliance Department. Eviction came after nine years of the City supporting and praising Rhizome Collective projects while officially overlooking their code violations. Building inspectors cited a dozen violations including exposed gray water, illegal composting toilets, and a second story addition built on the warehouse roof without a permit. Homespun electrical wiring didn’t help. Code gave a two-week notice of eviction to the nonprofits that operated out of the warehouses—Bikes Across Borders, Inside Books, and Food Not Bombs. The Rhizome Collective fought to extend the eviction to a month, then everybody moved out, struggling to find new homes for the bike shop, prisoner’s library, and kitchen. It was the traumatic end of an experiment in post-petroleum collapse urban futurism. The experiments continue on the south Austin brownfield deeded to the Rhizome Collective as part of an Environmental Protection Agency cleanup grant, now being turned into a recycling center by Ecology Action. Scott and Stacy moved on to Albany, New York, to found the Radix Ecological Sustainability Center, where current RUST (renamed Regenerative Urban Sustainability Training) workshops continue.
During the workshop I attended, Scott led participants around to aquaculture ponds full of tilapia, duckweed, and shrimp, a scavenged satellite dish arrayed with mirrors that focuses sunlight to ignite cardboard (or boil water), and a homemade wind generator that needed some work. The tour’s tableaux let you picture doing the various DIY projects, living the urban homestead life. Round the corner of the “microlivestock” pen and see Scott posing on a milk crate with the beautiful turkey. Dim the lights and watch him demonstrate igniting a torch of homemade methane gas produced by rotting water hyacinth. One by one, a slew of little projects, performed and described, kick-started a self-educated learning process that might not ever stop (or start). One thing blurs into the next as we run through far too many DIY projects to cram into one weekend.
Dogs, a turkey, chickens, machines, and all sorts of other nonhumans swarm at RUST. I hear roosters and someone playing piano while Lauren talks about water security. While learning about a Tupperware worm box that makes “black gold” for the garden, Scott’s daughter tries to feed the dog worms. Ignacio from Bikes Across Borders demonstrates a bike-powered blender driven by a modified roller skate wheel against the back tire, and offers us to taste the smoothie. RUST learning happens with multisensory events going on as parts of the scene. Whistling volunteers make lunch in the kitchen at the back of the big room where another presenter, Rafter Sass, extols “liberation ecology” – a mode of production that moves from extraction and exploitation to intense cultivation and connectivity. Having a kitchen without walls at the back of the lecture room complemented his ideas, keeping you in touch with the smells and sounds of cooking. What might be considered interruptions are nurtured by how spaces overlap, the kids playing in the nursery somehow adding to a multifaceted sensory education.
The ecological home improvement projects that RUST enacts are not as simple as replacing a filament light bulb with a fluorescent – something you can do and forget about. Instead, they fold the individual into the processes that make houses work, amplifying and refraining the house and city as a living ecosystem, inviting new species into the mix of machinic components. Appropriate technologies, animals, plants, and microbiological life forms serve as the technical means for collective security. Since you are their keystone species, these systems of beings require you to do things like tending water gardens or worm boxes. Rather than promising a final emancipation, altering the house with patchworks of DIY sustainability pulls you into relationships of dependency, as if parts of your house had become pets. Your garbage disposal turned into chickens. The compost heap needs fluffing again. But you also depend on these entities to keep the house going. Cultivation becomes the sharing of vulnerability, the individual body and its habits redistributed among interdependent life forms in a living machine. The RUST workshop teems with dreamy possibilities of an emergent probiotic urbanism – a sort of DIY superorganic bioindustrial revolution.
The DIY projects and community organizing taught at RUST are ways to mitigate fear by tinkering with the material contours of catastrophe, to get a grip on something in the midst of a world that seems to be falling apart fast. Crucially, their small-scale solutions to big problems draw individuals into new social networks and ongoing relationships of caring for living things. Fear, anxiety, and the gloom of future catastrophes might give way to other emotions, like the surprises and pleasures of habitats bursting with life. DIY tinkering opens up a slowness that "begins to reduce the anxious rush" of the time-is-money world.**
RUST also attunes the imagination to the scientific-invisible. Illustrations in the workshop handouts zoom in on earthworms with bacteria in their digestive tracts clutching napkins, forks, and knives, eating decomposition – a giddy scaling of beings within beings. Using a backlit microscope we peer in on nematodes, bacteria, and fungal mycilia in a slide of worm box dirt. Lauren Ross lectures on chemicals in urban water and soil, bioremediation using wetlands or compost tea, and the microbe agents in healthy soil ecologies. She warns us about the bad health effects of chemical pollutants in the food and water cycling between our bodies and urban landscapes. Chlorinated tap water sterilizes the soil in your garden, so we should all use rainwater. But you need to ensure that your rain catchments are not contaminating the water. Be suspicious of urban soil toxicity: homegrown organic veggies could carry loads of lead or heavy metals. Lauren promoted testing water and soil to mitigate these risks.
Rust is not necessarily bad for food-growing soil -- a little extra iron for your blood. Just below Ephemerata Garden's surface is a layer of burned timber and rusty nails. A little house in our backyard got struck by lightning and burned down. They just flattened it out across the ground and added a few inches of dirt. Building the City of Living Garbage involves major multispecies labor in remediating landscape patches from the ground down. Everything depends on the soil, and living soil depends on water.
2012
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.
*Kellogg and Pettigrew’s book Toolbox for Sustainable City Living: A Do-it-ourselves Guide (South End Press, 2008), wonderfully illustrated by Juan Martinez, goes into many of the environmental justice arguments and sustainable systems featured at RUST.
**In "Grassroots Modernism as Autonomous Practice" (Journal of Aesthetics and Protest 8, 2011), Meg Wade ponders critiques that DIY's little solutions are defeatist pitfalls of parochialism. "If what we need is in fact a change in the scale of our focus – a refusal to expand ourselves to the global reach and pace at which the persisting systems of exploitation encourage us to operate – what then?"
Sunday, July 31, 2011
Amaranth Weed
"Seeds the size of little freckles potentially grow into plants taller than me..."
Posted on FlowTV.
Posted on FlowTV.
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