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“Look only at the movements.” – Brian Massumi, Parables for the Virtual
image NASA, 1957, a physicist studies alpha rays in a continuous cloud chamber to, “obtain information aimed at minimizing undesirable effects of radiation on nuclear-powered aircraft components.”
In less than two weeks, we’ll be embarking on a research trip supported by the Graham Foundation for Advanced Studies in the Fine Arts. That trip, which we’ve tentatively named Repository: Look Only at the Movement, both extends the work we released in June, (a 42-card deck that chronicles “temporary” and mobile infrastructures in the United States designed to contain nuclear waste until more enduring facilities can be researched and constructed, titled Repository: A Typological Guide to America’s Ephemeral Nuclear Infrastructure), and takes it in a new direction.
For the new project, we will drive some of the interstates and highways used for the transportation of nuclear waste in the United States with variety of media in hand, including Super 8 film, digital photography, film photography and a car-mounted high-definition time-lapse video camera. Instead of focusing on particular labs, storage sites, or mounds as we did for the Repository deck, we will research and creatively document the movements of nuclear waste and the materials that facilitate them.
One could say that during the journey, we’ll be addressing the portions of the American West that we traverse as a kind of cloud chamber. We will attempt to detect traces and trajectories of the particularly potent materiality of nuclear waste as it passes though and interacts with human-designed spaces of daily life. In the process, we will become actors in the mix of movements and events surrounding the traveling waste as we take up paths and locations along roadways where citizens and nuclear waste move through the West side-by-side. We will document passages and interactions from the perspective of the potent materials being transported, as they continue their ongoing quest for a final resting place capable of containing them into the deep future.
While in the field, we’ll be looking at the materiality of the spaces through which nuclear waste moves, and is moved: tire, pavement, guard rails, signage, canister, truck, gate, ground. We intend to respond to the movements and material objects and surfaces that enable various different transportation processes and infrastructures for low-level waste, uranium tailings, transuranic, and high-level waste.
Our exact route will be determined by what we encounter along the way, but potential destinations include: Clive, Utah’s low-level waste storage site; uranium tailing sites in New Mexico and Utah (Moab, Mexican Hat); Albuquerque, Los Alamos National Lab; the Waste Isolation Pilot Plant (WIPP) near Carlsbad, NM; and Rocky Flats, Colorado.
We plan to give special attention to the flows of nuclear materials to the Waste Isolation Pilot Plant near Carlsbad, New Mexico. WIPP is the only deep geologic repository that is open and receiving transuranic waste for “permanent” disposal in the United States. As a “terminal” site for waste, it aims to sequester waste for upwards of 10,000 years.
The photography and video that result from our ten days of “moving-with” America’s mobile nuclear infrastructure will be the basis for an exhibition that will be relayed between several venues (in 2013-15) near sites that hold historical and contemporary significance because of their relationship to the movements of nuclear waste. As the exhibition is relayed from venue to venue, it will reenact the route of our research trip, trace the spatial scope and topographies documented in the work itself, and traverse paths that nuclear waste materials will continue to travel for the foreseeable future.
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September kicks off a new art going season in New York City and FOP/smudge studio will be participating in two upcoming (free and open to the public!) events this month. This coming weekend our studio doors will be open as part of Go Brooklyn, the borough-wide “community-curated open studio project” facilitated by the Brooklyn Museum of Art. During the weekend community members registered as voters will visit studios and nominate artists for inclusion in a group exhibition at the Brooklyn Museum. We’ll be in our Red Hook studio (#29) at 183 Lorraine both Saturday and Sunday, September 8-9th. Our floor will be open from 11-7 p.m. with more than 79 artists participating, including painters, sculptors, printmakers, photographers, jewelers, wood workers, ceramicists and a ukulele maker. On Saturday night there will be a barbecue with a DJ until 10pm. We hope to see you there!
And, later this month, our Repository cards and recent Geologic City: A field guide to the GeoArchitecture of New York will both be available at the New York Art Book Fair (September 28-30th at PS1) at the Soberscove Press booth. Sincere thanks to Julia Klein for hosting us. Not for the faint of heart, the Book Fair offers a remarkable and dense jungle of latest titles that are not only about art, but are art themselves—expanding both the boundaries of what “books” are and what “art” can be.
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“Do you understand? Everything we see is impermanent. Whole cities can vanish in a day of warfare. It’s this idea that the Japanese believe in, not the outward form … But what’s important here is that we conceive of our tradition and philosophy as invisible, which is very different from Europeans.” —Kisho Kurokawa, Project Japan (p. 385)
“… the idea of keeping architecture permanently is hypocritical, whereas considering architecture as temporary is authentic. Perhaps our desire of imprinting the ground with something imperishable is a manifestation of gross civilization.” —Munesuke Mita, Project Japan (p.656)
“People think of Metabolist architecture growing and changing, but it has to grow and change perfectly. It has to be beautiful … perfect as a constantly changing process. Impermanent beauty, immaterial beauty. So we found a new theory. European beauty was supposed to be eternal, but perhaps we could discover a new aesthetic based on movement. We thought we could make moving architecture.”—Kisho Kurokawa, Project Japan (p.383)
In our spare time this summer we’ve been reading Rem Koolhas and Hans Ulrich Olbrist’s spectacular Project Japan. Metabolism Talks…. The book includes nine interviews with Japanese architects and designers who were in some way related to the Metabolist movement in Japan. The book traces the movement across geographies, cultural and economic upheavals, bubbles, busts, and re-births. It’s a graphic treasure trove of ephemera, architectural plans, and highlighted quotes that disclose vital asides and insights into the characters that gave form to the “group.” By the time we finished the tome, we understood that Metabolism was more a nascent, yet powerful concept than it was an established collective. Various personalities seemed to revolve around Metabolist ideas and projects like satellites. They were always in relation to one another, while also simultaneously pursing quite different and individual projects, ambitions, connections, directions, and styles. The concept of Metabolism seems to have worked best as leverage for gaining notice for a group Japanese architects who were otherwise overlooked by the West. But the movement itself didn’t gel into a solid, orchestrated, or defined effort—and perhaps that is the most potent and visionary asset that it offers to architectural history.
“The Metabolists” were wildly different from one another. But they each embraced change, movement and ephemerality. Kisho Kurokawa was said to have once proposed a building that would contain dynamite inside to ensure its “extinction” after 30 years. Industrial designer Kenji Ekuan stood in the wreckage of Hiroshima and said, ”there, in a world where there was nothing left at all, I felt the call of all things man-made.” So much so, that he left his inherited right to become a monk at the family temple to convey the teachings of Buddha “through the world of things.” Echoing Ekuan, Kurokawa, who also witnessed the aftermath of World War II, said: ”I grew up in the center of Nagoya, but during the war we fled to the suburbs. One night, two or three hundred bombers flew over the city and nothing remained. Nagoya’s population of 1.5 million and its 230-year history disappeared overnight. I was shocked. Standing amidst the rubble, my father said, “Now we must build the city from scratch.” I thought, we can build a city? Unbelievable! At the time, I didn’t believe in architecture—I though architecture and cities would just disappear.“
Embedded within the story of the Metabolist movement are insights about Japanese designers’ and architects’ relationships to materiality. And these relationships have become most interesting to us. The volume reveals a relationship to materiality that appears to be intrinsic, and particular, to Japanese culture. It is a sensibility that seems to have escaped being overtly codified as philosophy, and instead, has been internalized—and aestheticized—into ways of being, cultural traditions, langauge and daily life practices.
Take for example, comments by Hidetoshi Kato found in the margin of Kenji Ekuan’s interview, under a caption entitled “spirit:” “I believe in the lives of many things—not only living animals, flowers and so forth, but also a small cup, your camera, your watch, your shoes… everything has its own life. It was born somewhere, and it will be worn out and reborn. In Kyoto you find a very interesting tomb called fudezuka. It’s a tombstone for old pens. Once you use your pens, you cannot put them in the garbage, you have to preform a ritual.”
fudezuka mound in Kyoto, image toranosuke
Many of the Metabolist architects also mention, sometimes with great significance, the Ise shrine. The Grand Shrine at Ise has been (re)built exactly to plan, the same plan, every 20 years since 690 CE—with new materials. Noboru Kawazoe eloquently describes Ise’s philosophical influence, “The Japanese thought that life becomes eternal by being absorbed into the great stream of Nature. For them, it was not a case of ‘life is short, art eternal.’ They only had to look at the Ise Shrine—ever new, yet ever unchanging—to know that it is art, in truth, that is short and life that is eternal … It comes from an awareness that, just as Ise Shrine was reborn from parent to child, then from child to grandchild in a continuous line, so did our ancestors live from one generation to the next and to the next, and now we stand at the end of that continuous line …”
Here in New York, and in the present tense, we toured the recently opened September 11 memorial in lower Manhattan. Perhaps one of the most profound contributions to this highly contested tract of land is 4 World Trade Center, designed by Metabolist Fumihiko Maki’s Maki and Associates. The structure, which will be 72 stories tall, is practically invisible at certain times of day. Designing a structure capable of essentially disappearing, while existing within one of the most emotionally charged zones in America, is a remarkable architectural feat. An insightful article about the building appeared last June in the New York Times under the title, ”A 977-Foot Tower You May Not See, Assuming You’ve Even Heard of It.” Osamu Sassa, the project architect for the Maki firm, was quoted in the piece as saying: “We like the idea of the building dematerializing.”
The events of March 2011 ushered in entirely new tumultuous, material upheavals to Japanese life. The tsunami and earthquake erased entire cities and villages. The Fukushima Daiichi disaster continues to require unprecedented vigilance for the clean-up and ongoing attempts to contain radioactive materials.
The themes that accumulate at the core of Project Japan left us thinking that contemporary Japanese people might be some of the best prepared for navigating—and enacting— profoundly new materialist directions in the immediate future. Having escaped extended colonization and, over the past several millennia, having been able to refine the ability to maneuver deftly beyond the tragic losses of war, typhoons, earthquakes, landslides and tsunamis, there is little Japanese people haven’t already overcome, materially, in their daily lives. Adaptation and appropriation have become central attributes of Japanese cultural identity—along with a deeply embedded respect for and awareness of ephemerality.
The Postcript of Project Japan, by Toyo Ito, was especially inspiring. His words echo our sense that there is much to learn from Japanese designers and architects as they become some of the first to reorient themselves (once again) towards an unknowable and constantly changing future that we all face:
“The reported scene of a fishing village in Sanriku devoured in seconds by the tsunami struck me and made me wonder what Japan’s 60 years of modernization since the war was all about. I am amazed by the fragile state of things despite all the economic and technological “strength” Japan has been so proud of… Was our achievement of the past several decades a house of cards? The media often uses the phrase “beyond assumption” for the disaster, meaning that its force was beyond architectural requirements. But I can’t help sensing a more fundamental disruption between our norm and the reality. I think we design things in a mechanical manner…we do not engage with the natural environment as something constantly affected by the varying forces of the ground, sea, or wind. I think our task now is to rethink how we “assume” design conditions, rather than reviewing the conditions. We need to start by questioning the way we relate to nature… Any proposal for tackling this issue, however visionary, should be an encouragement for the towns and villages reconstructing with the possibility of natural disaster always looming. And we architects should find it an invaluable opportunity to work on such a proposal, where we can question the norm of modernism that is so embedded within us. I think now is a good moment for us architects to break away from this mode and regain a viable relationship with nature.” —Toyo Ito (p.697)
Kenzaburo Tange, the man closest to the “core” of Metabolism, aptly asked decades ago, ”What are the things that join us with the future?”
tsunami debris, image CC Yuichi Shiraishi
Oirase tsunami gate, image CC Richard Masoner
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Saturday night FOP had the pleasure of attending a public talk by Matt Coolidge, director of the Center for Land Use Interpretation (CLUI), at Studio-X. There, Matt announced CLUI’s latest project on New Jersey’s Meadowlands. Free copies of CLUI’s interpretive Meadowlands maps were distributed at the talk, and they can be downloaded free from the project webpage.
CLUI describes the Meadowlands as, “the closest open landscape to the architectural mass of Manhattan, just two miles away. Covering around 35 square miles, the Meadowlands are similar in size, and orientation, to their urban doppelganger. Unlike the highly designed and managed space of the city however, the modern Meadowlands formed more by incident, accident, and happenstance.”
Matt’s presentation at Studio-X last night took on a new cadence and tenor compared to previous CLUI presentations we’ve attended. In the 90 minute slide show, Matt intoned a mesmerizing litany of roads and buildings, illustrated by images that glided past our eyes in a smooth and regular succession. It seemed as if the string of urban, suburban and industrial landscape photos, some aerial, some from ground level, could unfurl forever. Matt’s voice offered a calm, evenly pitched recitation of what he described as “personal” expeditions into the Meadowlands over the past couple of years, requiring countless of hours of driving and resulting in piles of research.
Today, in the light of a new day, we had the opportunity to take to the road and traverse the Meadowlands landscape in CLUI’s 15-person rental van. Matt’s voice provided the day’s soundtrack, fed through the van’s speaker system via a hands-free head-set. Not unlike the presentation the night before, today’s tour was swamp-like in form, possibly modeled after the landscape we toured. Spontaneously we became urban archaeologists seeking disappeared buildings and traces of the past that have been absorbed into the muck of the Meadowlands. The entire day had the feel of a blurry meditation, one continuous transit without any specific destination. We couldn’t really track where we were from inside the van. There were streams of indecipherable exit ramps, clover-leaf loops, fenced off zones, dead ends, and banal industrial strips. It seems you can’t really “arrive” at the Meadowlands. It’s everywhere and nowhere all at once. Many of the buildings and views were eclipsed by window glares and truncated by our constant movement—past guard rails, traffic, trees and waving grasses of invasive species. The sheer quantity of buildings and sites (more than 75) noted on the newly released map makes it impossible to take in the Meadowlands-according-to-CLUI’s “points of interest” in one drive through. Empty industrial and infrastructural megastructures, sprawling parking lots, and abandoned shopping malls populated the horizon.
As the day wore on, we sunk deeper into the swampy geologic and biologic realities of the subsiding landscape, to the tune of a cascade of closed diners, big box stores, data parks, superfund sites, power plants, junk mail dispatch centers, and outdated garbage technologies. Garbage, waste, and trash are literally embedded within the soil of the Meadowlands—and the ever-growing human-made hills of trash have become tall enough to obscure the views between here and there, New Jersey and Manhattan. A nine-minute ride from Penn Station, the Meadowlands is a world apart that runs parallel to New York City, and is materially bound to it, primarily through refuse.
Mid-way through the day, we found ourselves at an unremarkable cemetery on the West Side of the Meadowlands. Here, we stepped out of the van and stood before the grave of Robert Smithson, one of the most significant artists in the Land Art movement of the 1970s. His gravestone is humble and remarkably devoid of any feature that might invoke his obsession with the particularities of the geologic. Smithson’s work is a mighty precursor to so much of the contemporary art being made today, a direct catalyst for Land Use Interpretation—as well as for the geologic interests of FOP.
In 1967, Smithson wrote, in “A Tour of the Monuments of Passaic, New Jersey:”
“That zero panorama seemed to contain ruins in reverse, that is—all the new construction that would eventually be built. This is the opposite of the ‘romantic ruin’ because the buildings don’t fall into ruin after they are built but rather rise into ruin before they are built.”
This insight continues to ring true today in complicated ways, as the types and varieties of ruins have only proliferated. Smithson gave us eyes to see them as ruins at all.
By the end of the day we were struck with a feeling that, taken together, Matt’s Studio-X ruminations, the day-long interpretive tour, and CLUI’s investment and time in this place compose a eulogy of sorts, for Robert Smithson and for the remarkable unremarkableness of this “overlooked” place.
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“In the mid-19th century, Henry David Thoreau walked the Atlantic coastline of Cape Cod, recording his adventures in his narrative Cape Cod. To literally follow in Thoreau’s footsteps today would require scuba gear. Cape Cod’s Outer Beach sees an average erosion rate of close to 4 feet per year.” - Cape Cod National Seashore website
What kind of structure should be built on a stretch of land that will inevitably disappear, whose grounds are in a constant state of drifting elsewhere? What kind of design must be invented for a place where geologic change doesn’t unfold in centuries, but in days, or mere hours on the occasion of a major storm?
Erosion is the norm on Cape Cod, a sandy arm of glacial till that was dumped after the last ice age and has been swirling into place ever since. At a wildly popular destination named Herring Cove, the geologic realities of Cape Cod meet the human reality that here, the more than 850,000 visitors a year need a public bathhouse.
After years of deliberation and years of witnessing the beach change in dramatic and irrevocable ways, it appears that architects, engineers, scientists, public officials and the citizens of Provincetown have come up with a design they support and sense can navigate the shifting terrain.
The original Herring Cove bathhouse was developed in the 1950s as a state park headquarters with public bathrooms, dressing rooms, a lifeguard station, a snack bar and a boathouse. Some have described this modernist fortress as a “sand-colored Cold War bunker.” It seems that the architects of this bathhouse were hoping that its bunker-like design would allow it to valiantly outlast the sea it faced. But, 60 years later, the building is in need of top to bottom repair.
FOP recently spent time on the Cape and learned that the continuing erosion of the shoreline has made the existing three buildings in the area unstable. A storm last winter wreaked havoc on a revetment that was built in 1940. The storm also collapsed a tract of the parking lot. According to the Provincetown Banner, the result was “dangling asphalt precipices” and a “steep, crumbling drop-off.”
The historic bathhouse will be torn down in early November of this year. It will be replaced by a more energy-efficient set of structures that have been described as being “light on [their] feet”—agile and responsive to the surrounding environs. The new buildings will take the form of five bungalows surrounding a shaded pavilion, set on pilings and linked to the beach by raised board walks. Each structure will serve a single and specific purpose such as changing room or concessions. The raised pilings and board walks will allow sand and vegetation to move freely beneath the structures and reduce damaging foot traffic through the dunes. And, as the beach continues its predicted erosion, the bungalows can be moved further inland, without requiring a new building to be constructed in their place.
Long-term planning by the National Seashore and the Provincetown Center for Coastal Studies includes studying currents near the shoreline and the ongoing, natural movement of sand along the beach. Provincetown Conservation Commission chairman Dennis Minsky has stated that, ”The ultimate problem is that you have hard revetment, armored protection of a coastal beach, which is inappropriate for the forces operating out there … long-term, there’s no future for that area … The bathhouse itself is going to be replaced by a modular structure that is movable, one that’s going to be much smaller and simpler, and able to be moved in response to the changing shoreline. Ultimately, all that macadam, nature will remove it.”
When we toured the bathhouse last week, we were struck by the sheer proximity of the ocean to the bathhouse’s blocky cement walls and front steps. Surprisingly, nested within the seemingly hardened exterior, were open air changing rooms that directly invite wind, sand, and rain into the structure’s interior. These spaces were desolate and crumbling, yet beautiful and quiet. The sound proofing delivered by the concrete and the framed aperture onto the changing Cape sky and light created a chamber that made us think of the work of James Turrell.
The design of Herring Cove’s new bathhouse, like many others being implemented in communities around the world, assists humans as they grapple with how and what to construct in response to rapidly changing landscapes. Instead of steeling itself against the elements, the new bathhouse will be responsive to them, and move (out of the way). A welcome side effect of structures that stay open and responsive to the environments they reside within, is that they enable humans passing through them to more fully experience where they are.
Local Provincetown artists will stage a 10-day (September 28-October 7th, 2012) creative response to the old bathhouse before it is torn down called Ten Days that Shook the World: The Centennial Decade. There is open call for proposals until August 25th. More information can be found at TendaysofArt.com. The project will involve the screening of films, live performances and site-responsive works.
* unless otherwise noted, all images this page, FOP, July 2012
* Images of the new bathhouse design can be found at Bargmann Hendrie + Archetype.
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smudge studio, from the Feasibility Project (Rachel, NV), 2009
Eighteen months after we first announced the call, via this blog, we’re ready to announce that our co-edited collection of essays, Making the Geologic Now: Responses to Material Conditions of Contemporary Life will be released by Punctum Books later this fall. We have designed this book in the tradition of a broadside or pamphlet—a timely “calling out” of a shift in cultural sensibility and practice. Its publication by Punctum Books as downloadable file, bound book, and interactive website will make it readily and widely accessible, portable, and easily shared and exchanged. We hope that these forms will encourage it to move through culture the way a “geologic turn” is now propagating through contemporary consciousness and practice.
Making the Geologic Now offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. As a signal from edges of feasibility, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of “now.”
Contributors’ ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer—as a partner in designing thoughts, objects, systems, and experiences.
Recent natural and human-made events triggered by or triggering the geologic have made volatile earth forces sense-able and relevant with new levels of intensity. As a condition of contemporary life in 2012, the geologic “now” is lived as a cascade of events. Humans and what we build participate in their unfolding. Today, the geologic counts as “the environment” and invites us to extend our active awareness of inhabitation out to the cosmos and down to the Earth’s iron core.
A new cultural sensibility is emerging. As we struggle to understand and meet new material realities of earth and life on earth, it becomes increasingly obvious that the geologic is not just about rocks. We now cohabit with the geologic in unprecedented ways, in teeming assemblages of exchange and interaction among geologic materials and forces and the bio, cosmo, socio, political, legal, economic, strategic, and imaginary.
Contributors include: Matt Baker, Jarrod Beck, Stephen Becker, Brooke Belisle, Jane Bennett, David Benque, Canary Project (Susannah Sayler, Edward Morris), Center for Land Use Interpretation, Brian Davis, Seth Denizen, Anthony Easton, Elizabeth Ellsworth, Valeria Federighi, William L. Fox, David Gersten, Bill Gilbert, Oliver Goodhall, John Gordon, Ilana Halperin, Lisa Hirmer, Rob Holmes, Katie Holten, Jane Hutton, Julia Kagen, Wade Kavanaugh, Oliver Kellhammer, Elizabeth Kolbert, Janike Kampevold Larsen, Jamie Kruse, William Lamson, Tim Maly, Geoff Manaugh, Don McKay, Rachel McRae, Brett Milligan, Christian MilNeil, Laura Moriarity, Stephen Nguyen, Erika Osborne, Trevor Paglen, Anne Reeve, Victoria Sambunaris, Paul Lloyd Sargent, Antonio Stoppani, Rachel Sussman, Shimpei Takeda, Chris Taylor, Ryan Thompson, Etienne Turpin, Nicola Twilley, Bryan M. Wilson.
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Arizona wildfire, May 2012, image Melissa Hincha-Ownby
Wildfires have been making headline news across New Mexico, Arizona, Utah, Michigan and Colorado since late May. These fires have disrupted daily life, recreation and commerce across thousand of miles. Just over a year ago, we detailed our encounter with the enormous and rapidly spreading Las Conchas fire outside Los Alamos National Laboratory in New Mexico. At that time, the Las Conchas was the largest fire recorded in New Mexican history (burning more than 150,000 acres). Now, the Whitewater-Baldy Complex blaze has taken the title as the largest fire in state history, scorching over a quarter of a million acres.
There appears to be an escalating intensity to the annual wildfire season. The Waldo Canyon fire near Colorado Springs, presently 55% contained, is described as the most destructive in state history. Last week 32,000 people were evacuated from the area and 350 homes have been destroyed.
Colorado Springs, June 2012, images daisyelaine
Anthropogenic reasons for the fires are hard to deny. A recent NY Times article cited policies that began in the early 1900s that lead to more trees than are healthy or natural in forests. These policies, coupled with fire suppression and overgrazing by livestock, have set the stage for the unprecedented fires to-date. In the past decade, long periods of dry weather, as a result of climate change, have led to fires that are fundamentally different from those of years prior. Recent fires, instead of assisting in forest regeneration, have not kept to forest floors, where they simply clear accumulated ground cover. The latest fires instead have ascended trees and burned entire forests, irrevocably devastating surrounding soil and eco-systems. Growing data suggest these fires are not within the scale of the naturally balanced carbon cycle, which means that they can exacerbate climate change even further, likely inducing an even more vicious fire cycle in the future.
Dr. Allen, a scientist with the U.S. Geological Survey, said that the fires in New Mexico this year have wiped out entire forests of juniper and piñon. These are species that won’t be able to regenerate, especially as annual temperatures continue to rise (NOAA’s May “State of the Climate” report data details that May 2012 was the second warmest May in recorded history). Plants that can grow in the wake of such fires, primarily grasses and shrubs, will not remotely resemble the forests that existed previously. Dr. Allen suggests that there is no way to preserve what is being erased by these fires—adaptation to the new conditions is the only option.
The resulting, continent-wide changes rippling through human lives and landscapes are of acute interest to us here at FOP. Plants, animals and humans are in the midst of confronting unprecedented scales of change. Forests that have been a constant presence for centuries suddenly no longer exist.
In this new environment, configuration appears to be of growing consequence. Borders between “wilderness” and “residential” appear ever more slippery. Where to build? How soon will the “next” event of this magnitude take place? What species can thrive in what becomes of “here”? What tools do we need to navigate this new territory?
We will continue to track these fires. There is much to learn from how various species will reconfigure their lives and systems in response to such unpredictable events of change.
maps of fires currently in-progress as of July 2, 2012, image Google
heat wave map June 17-24, 2012, image via NASA
In related news, a new satellite device for tracking global deforestation was recently released at the Rio+20 sustainability conference.