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@BlakeHunskicer has a kickstarter project, Fleeing the War at Home: An interactive documentary introducing the crisis in Syria through the personal histories and dreams of Syrian refugees, with a few days and a few thousand dollars left to go.

Blake is one of the graduate students I got to know this last year as a visiting scholar in @JayRosen_NYU‘s Studio20 (@Studio20NYU) class at NYU. He’s a terrific journalist and photographer already, and will put both skills to good use for a good cause. Join me in helping him make it happen.

In Bubkes, Stephen Lewis has lately been blogging with depth and insight on many topics — music, architecture, culture, infrastructure and events historic and current — in two cities with which he is intimately familiar: Istanbul and Sofia.

In Taksim Underpass: Ask Gertrude Stein, Dorothy Parker, Jane Jacobs, and Robert Moses, he writes,

By itself, the Turkish government’s plan to shunt traffic under and past Taksim Square might indeed lessen vehicular congestion, thus freeing this iconic location from dominance by motor vehicle traffic. In conjunction with the plan to replace all of Taksim Square and Gezi Park with a massive complex of shopping mall, mosque, and fantasy reconstruction of a 19th-century military barracks, however, the underpass will instead deliver more automobile traffic into the urban core, a further step toward transforming a vital, unplanned, dense, “legacy” urban agglomeration into just another suburb.

In Istanbul Conflicts From Afar: Issues and Aspersions, Headscarves and Rambo, he visits specious tales by the Turkish Prime Minister and his sympathizers, of protestors “harassing pious Muslim women and tearing off their headscarves” (among other offenses for which there is no confirming hard evidence), and compares them to equally wrong tales from the Vietnam War era. That was when “US antiwar activists were stigmatized — and crocodile tears poured forth — over reports that US soldiers returning from tours duty in Vietnam were being spit upon by opponents of the war.  Not a single person, however — neither spitter, spat upon, nor witness thereto — ever stepped forward to confirm any such attack.” In support of this he recalls an On the Media program confirming the purely propogandized nature of the claim. I just did some digging and found the program transcript. Here it is.

In Sofia, Bulgaria: From Protest to Protest to Protest, Steve visits “the Balkan blurring of what is said and what is, and what is and what could or should be” and how in Bulgaria “nothing is what is seems to be at first glance, and words, no matter how clear, often refer to alternate realities (click here for my long-ago online discourse on the wisdom and convenience of the oft-heard Bulgarian-language phrase po printsip, tr. ‘in principle‘).” His next post, Plovdiv, Bulgaria, 1997: Musicians Marching in Protest, recalls an earlier protest, again accompanied by an excellent photo.

In Istanbul: Water, Fountains, Taksim, and Infrastructural Tourism, Steve reports on joining a colleague in visiting “the layers of infrastructure — including Ottoman-era fountains — that have served Istanbul over centuries past and during its ten-fold growth in population during the twentieth.” I share with Steve a passion for what he and his colleague call “infrastructural tourism” — a practice which, he adds, “appears already to be underway, albeit searching for its own content and method, as per this report at Design Observer.” Wonderful link, that one. Go read that too.

In From the Archives: Fading Fragments of Legacy Infrastructure, he begins,

Two decades ago, I began to photograph the historic water fountains (çeșme) and water kiosks (sebil) of Istanbul.  I began, not with the grand and monumental, but with obscure and abandoned — those in backstreets, alleyways, and courtyards, functioning and non-functioning fragments of legacy urban infrastructure, overlooked by scholars,  their features surrendered to the elements, decay, and neglect. The forgotten origins and gradual disappearance of many of these structures seemed symbolic of larger urban processes of decline and abandonment — processes that are as central to the functioning and continuity of cities as are restoration and (re)development.

I’ve been doing something similar in New York and New Jersey, where I grew up. A few days ago, driving back to Manhattan from a meeting in Edgewater, New Jersey, I found myself following Google Maps’ navigation to the George Washington Bridge, turning onto Bruce Reynolds Boulevard before bearing right onto a ramp leading into the toll lanes. Paused at a light,  I saw on the right an old street sign marking the late Hoyt Avenue, and realized I was exactly where my parents lived when I was born: at 2063 Hoyt. Ninety-three years earlier, this was the view from that very same spot. (And here’s the larger photo set, with shots old and new. Credit for the old ones goes to my late father and to his little sister Grace, now 101 years old and doing fine.) I hope, when Steve next returns to New York (his home town), we can do some infrastructural touring together, cameras in hand.

Bonus link: Steve’s latest, Further to “Istanbul Conflicts From Afar:” Kudos, Mentions, and “Great Expectorations”, which cites this post as well.

The title of this post, Rebuilding the Future, is one I came up with back when I read Steve’s Taksim Underpass piece, and I wanted to post thoughts about the ironies that always surround the civic graces — especially infrastructure — that we choose to keep using (often for new purposes), or just to preserve, for generations to come. I didn’t go there, because I’ve already said enough and I’d rather that readers get into what Steve is writing and sharing. But I still kinda like the headline, so I’m letting it stand.

Driving from New York to Boston today, I heard “Summer ‘Heat Tourists’ Sweat With Smiles In Death Valley” — a four-minute feature on NPR, aired on the 100th anniversary of the hottest temperature ever recorded outdoors on Earth, which happened in Death Valley: 134° Fahrenheit, which is around 57° Celsius. The report says Death Valley routinely draws a hearty Summer crowd of tourists from colder and damper parts of the world: Belgium and New Zealand, for example.

As it happens I was just in New Zealand and Australia, where it’s Winter now. And, on the way back, on a leg between Los Angeles and Newark, I got a nice look up Death Valley from about 40,000 feet up. So I shot it, of course. And I’ve put those shots up on Flickr. If you click on the one above, you’ll see it comes with notes identifying some of the sites in the shot. Two of the most remarkable are Dumont Dunes and the Tonopah and Tidewater Railroad, aka T&T. The Dunes link goes to the Wikipedia article on the dunes, which is accompanied by a shot I took a few years back from overhead, using a camera I wish I still had (a Nikon Coolpix p7000), which was much better than my Canon 5D SLR at shooting stuff below the window. (Got much better sunsets and sunrises too.) The railroad was built in 1905 and abandoned in 1940. Here are some additional links:

West Fork Fire

On my way back to New York from Sydney on Wednesday, while flying east over the San Juan National Forest and the Rio Grande National Forest in southern Colorado, I shot what at first I though was a controlled burn, but later realized was the West Fork Fire. I knew it was a big one when I watched the smoke fan out to the east, starting with the San Luis Valley, where some of it pooled over the Great Sand Dunes National Park, and against the Sagre de Cristo Mountains. (Here are pictures of those in clearer conditions.)

But it went far beyond there, coloring the skies over Kansas and beyond. (More when I put up the rest of the photos from the trip.) Here is a story on the fire’s visibility from space. And here’s a link to a search for “West Fork Fire”.

Flickr has updated its service. I knew it was coming and I had a few hopes for it:

  1. Better multiple account management
  2. Personal service, by human beings using their real voices
  3. Ability to make changes (e.g. of permissions or licensing) for thousands of shots in one move
  4. Finer distinctions than friends/family/private

The updates, from what I can tell, offer none of that. What I got, as a Pro customer, appeared in the form of index page copy that began,

Dear Doc, as a Pro member continue to enjoy the benefits of unlimited space, an ad free experience and stats.

For non-paying users, there was this, from the index page as it appeared on a browser that didn’t know I’m a Pro member:

Smile.

Everyone gets a free terabyte.

Biggr. That’s right, a terabyte.

Spectaculr. Share in full resolution.

Wherevr. Available anywhere you go.

Then there was this, from an email from Flickr to one of my several selves who have a Flickr Pro account:

As a Pro Member, your subscription remains the same. You’ll enjoy unlimited space for your photos and videos, detailed stats and an ad-free experience. However, you can switch to a Free account before August 20, 2013.

Why offer an opportunity to switch? I wondered.

So I clicked on a “learn more” link that went to this:

Next question: Why a down-sell to Free rather than an up-sell to Pro?

I guess they’d rather have me looking at ads than paying for a service — to be a consumer rather than a customer.

Yet Flickr is still relatively free of the load-slowing spyware typical of most commercial websites. (There’s just ScoreCard Research Beacon and Yahoo Analytics. I have the former turned off, but I leave the latter on. Seems harmless enough.)

Anyway, I’m not sure what’s up with Pro accounts. Nothing, I guess.

But the problems remain. From The Intention Economy:

A similar problem comes up when you have multiple accounts with one site or service, and therefore multiple namespaces, each with its own login and password. For example, I use four different Flickr accounts, each with its own photo directory:

  1. Doc Searls
  2. Linux Journal
  3. Berkman Center
  4. Infrastructure/

The first is mine alone. The second I share with other people at Linux Journal. The third I share with other people at the Berkman Center. The fourth I share with other people who also write for the same blog.

Flickr in each case calls me by the second person singular “you,” and does not federate the four. To them I am four different individuals: one cow, four calves. (Never mind that three of those sites have many people uploading pictures, each pretending to be the same calf.) My only choice for dealing with this absurdity is deciding which kind of four-headed calf I wish to be. Either I use one browser with four different logins and passwords, or I use four different browsers, each with its own jar of cookies. Both choices are awful, but I have to choose one. So I take the second option, and use one browser per account—on just one laptop. When I use other laptops, or my iPhone, my Android, or the family Nokia N900, iPod Touch or iPad, I’m usually the first kind of calf, using one browser to login and logout every time I post pictures to a different account. Which I mostly don’t do at all, because it’s one big pain in my many asses.

As it happens I’m having a problem with the Infrastructure account: I’ve lost the login and password. At this point the account is mine alone:  I’m the only one paying for it, and the only one using it. But I haven’t been able to raise a human being, so far, at Flickr. I could share my email exchange with the automated process there, but there’s no point. I’d rather just have the problem fixed.

So here’s a request, if anybody from Flickr is reading this: please contact me, and let’s fix this thing. Thanks.

Los Angeles at nightFirst, time.

Earth became habitable for primitive life forms some 3.X billion years ago. It will cease to be habitable in another 1 billion years or less, given the rate at which the Sun continues to get hotter, which it has been doing for the duration.

Species last, on average, a couple million years. Depending on where you mark our own species start, we are either early or late in that time span.

If you mark our start from the dawn of the Anthropocene — now being vetted as a name for the geological epoch in which human agency is as obvious as that of other natural agents in Earth’s story, such as asteroid collisions, volcanic outpourings and radical weather changes — we’re about ten thousand years into this thing. We’ve done a lot in not very long.

From a pained perspective, the Anthropocene is a time of pestilence by a single species — one with an insatiable hunger for what that species calls “natural resources.” To test that pain, give a listen to “When the music’s over,” on the Strange Days album by The Doors. In it Jim Morrison sings,

What have they done to the Earth?
What have they done to our fair sister?
Ravaged and plundered and
Ripped her and bit her.
Stuck her with knives in the side of the dawn and
Tied her with fences and
Dragged
Her
Down.

From a disinterested perspective, dig Robinson JeffersThe Eye, written during World War II from Tor House, his home in Carmel overlooking the Pacific:

The Atlantic is a stormy moat; and the Mediterranean,
The blue pool in the old garden,
More than five thousand years has drunk sacrifice
Of ships and blood, and shines in the sun; but here the Pacific–
Our ships, planes, wars are perfectly irrelevant.
Neither our present blood-feud with the brave dwarfs
Nor any future world-quarrel of westering
And eastering man, the bloody migrations, greed of power, clash of
faiths–
Is a speck of dust on the great scale-pan.
Here from this mountain shore, headland beyond stormy headland
plunging like dolphins through the blue sea-smoke
Into pale sea–look west at the hill of water: it is half the
planet:
this dome, this half-globe, this bulging
Eyeball of water, arched over to Asia,
Australia and white Antartica: those are the eyelids that never
close;
this is the staring unsleeping
Eye of the earth; and what it watches is not our wars.

There is also this, from Jeffers’ “The Bloody Sire” :

Stark violence is still the sire of all the world’s values.

What but the wolf’s tooth whittled so fine
The fleet limbs of the antelope?
What but fear winged the birds, and hunger
Jewelled with such eyes the great goshawk’s head?

Our teeth, right now, wing limbs and jewell eyes we will never see.

And the life here will end, perhaps in less time than has passed since the planet made half the rocks in the Grand Canyon‘s layer cake.

Now, space.

Astronauts speak of the “Overview_effect” that leaves them changed by seeing Earth from space.

I’ve made do with what I can see from the stratosphere while flying in commercial aircraft. It was from that perspective, for example, that I’ve documented effects of strip mining in the Anthropocene.

Ironies abound. My photo series on coal mining in the Powder River basin has been used both for pro-environmental causes and to promote business in Wyoming.

I’ve got more on this, but neither time nor space for it now.

Bonus link.

And more on the Anthropocene:

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artifacty HD[Later (7 April)… The issue has been resolved, at least for now. We never did figure out what caused the poor video resolution in this case, but it looks better now. Still, it seems that compression artifacts are a mix of feature and bug for both cable and satellite television. One of these weeks or months I’ll study it in more depth. My plan now is just to enjoy watching the national championship game tomorrow night, between Louisville and Michigan.]

What teams are playing here? Can you read the school names? Recognize any faces?  Is that a crowd in the stands or a vegetable garden? Is the floor made of wood or ice?

You should be able to tell at least some of those things on an HD picture from a broadcast network. But it ain’t easy. Not any more. At least not for me.

Used to be I could tell, at least on Dish Network, which is one reason I got it for our house in Santa Barbara. I compared Dish’s picture on HD channels with those of Cox, our cable company, and it was no contest. DirectTV was about the equal, but had a more complicated remote control and cost a bit more. So we went with Dish. Now I can’t imagine Cox — or anybody — delivering a worse HD picture.

The picture isn’t bad just on CBS, or just during games like this one. It sucks on pretty much all the HD channels. The quality varies, but generally speaking it has gone down hill since we first got our Sony Bravia 1080p “Full HD” screen in 2006. It was the top of the line model then and I suppose still looks good, even though it’s hard to tell, since Dish is our only TV source.

Over-the-air (OTA) TV looks better when we can get it; but hardly perfect. Here’s what the Rose Bowl looked like from KGTV in San Diego when I shot photos of it on New Years Day of 2007. Same screen. You can see some compression artifacts in this close-up here and this one here; but neither is as bad as what we see now. (Since I shot those, KGTV and the CBS affiliate in San Diego, KFMB, moved down from the UHF to the VHF band, so my UHF antenna no longer gets them. Other San Diego stations with UHF signals still come in sometimes and look much better than anything from Dish.)

So why does the picture look so bad? My assumption is that Dish, to compete with cable and DirectTV, maximizes the number of channels it carries by compressing away the image quality of each. But I could be wrong, so I invite readers (and Dish as well) to give me the real skinny on what’s up with this.

And, because I’m guessing some of you will ask: No, this isn’t standard-def that I’m mistaking for high-def. This really is the HD stream from the station.

[Later…] I heard right away from @Dish_Answers. That was quick. We’ll see how it goes.

Echo Cliffs

I say that because I didn’t find those entries when I went looking for them yesterday, when I was putting up and annotating this photo set here.

If I get a chance later I’ll put some links here.

[Later…] And now there is a Wikipedia entry, thanks to Phllip Stewart, @pmsyyz, who improves Wikipedia as http://en.wikipedia.org/wiki/User:Pmsyy. I just made a few additional edits myself as well.

It’s raining here now, in Manhattan. It was snowing earlier, but then came the sleet, and now the rain, and the slush. Here’s what I shot with my phone a few minutes ago, on my way back from the subway:

Blcch on broadway

And here’s what this kind of thing looks looks like on Intellicast‘s radar:

Blcch map

The red X marks where I grew up, on Woodland Ave in Maywood, New Jersey, about 5 miles from the George Washington Bridge and Manhattan. Woodland Avenue was (and still is) a hill. Not a big one; just one ideal for sledding. It had a nice steep slope at the top, and a long flat stretch at the bottom, so you could get up some good speed and glide a long way. Sometimes the town would designate Woodland Ave as the sledding hill, and block off the top and the bottom except for residential traffic. If the snow was deep enough, cars would pack it down and make sledding better.

Terrace Ave, one street over, was good for sledding too: steeper at the top, with a shorter glide path at the bottom. So was the back yard of the Borg house on Summit Ave in Hackensack, which was a short walk through Borg’s Woods, also owned by the family. (It’s now a nature preserve.) The Borg family owned the Bergen Evening Record (now just The Record).

This was back in the 1950s, which were simpler times. There was no cable, no Weather Channel. Almost nobody in our social stratum went skiing. Few civilians had four-wheel (or even front-wheel) drive vehicles. For kids, sledding was the favored recreational activity in snow, and the best sleds were Flexible Flyers. The family had a big old heavy one, good for seating two or three people. It looked like the one on the right (from 1936), but a bit longer. It may have been that old too. We also had a smaller one, good for solo flights.

If snowy weather threatened, as it does now, we’d be glued to our radios, eager to hear a forecast that did not include the dreaded word “rain.” The most disappointing forecast was this one: “Snow mixed with and then changing to rain.” It was also the most typical for New York. An inch or few of snow would fall, and then it would turn to sleet, or drizzle, and then rain, and the street would turn to slush. These days they call snow/rain combo “wintry mix.” That’s the pink on the map. Almost always the forecast would say something like “significant accumulations in the outlying suburbs.” Those are the areas in blue already.

So my heart’s is back in Maywood today, while my ass is in Manhattan, watching the blizzard fail to happen — at least here. On the iPad is the Weather Channel, tuned in to our Dish Network box in Santa Barbara. The forecast, as always with TWC, is breathless and dire. They (or somebody) have named the storm “Nemo.” Oy.

In a slightly more ideal world, we would have already rented a four-wheel drive, thrown a suitcase and ski clothes in the back, and have driven up to Hunter Mountain, or some place in Vermont. I’ll bet the skiing up there will be perfect for the next few days. But we’re busy, and not in a position to indulge.

TWC says it’s still going to snow later, with accumulations even as close as Maywood. So, for the sake of the kids out there, I hope the pink turns blue.

NYC

I want to plug something I am very much looking forward to, and encourage you strongly to attend. It’s called The Overview Effect, and it’s the premiere of a film by that title. Here are the details:

Friday, December 7, 2012 – 5:30pm – 7:00pm
Askwith Lecture Hall
Longfellow Hall
13 Appian Way
Harvard University
Cambridge, MA

The world-premiere of the short documentary film Overview, directed by Guy Reid, edited by Steve Kennedy and photographed by Christoph Ferstad. The film details the cognitive shift in awareness reported by astronauts during spaceflight, when viewing the Earth from space.

Following the film screening, there will be a panel discussion with two NASA astronauts, Ronald J. Garan Jr. and Jeffrey A. Hoffman, discussing their experience with the filmmakers and with Douglas Trumbull, the visual effects producer on films such as 2001: A Space OdysseyClose Encounters of the Third Kind, and Star Trek: The Motion Picture. The event will be moderated by Harvard Extension School instructor Frank White, author of the book The Overview Effect, which first looked at this phenomenon experienced by astronauts.

This event will take place on the 40th anniversary of the Blue Marble, one of the most famous pictures of Earth, which was taken by the crew of the Apollo 17 spacecraft on December 7, 1972.

Seating is limited and will be assigned on a first-come first-serve basis. The event will also be streamed live at http://alumni.extension.harvard.edu/.

The Overview Effect is something I experience every time I fly, and why I take so many photos to share the experience (and license them permissively so they can be re-shared).

The effect is one of perspective that transcends humanity’s ground-based boundaries. When I look at the picture above, of the south end of Manhattan, flanked by the Hudson and East Rivers, with Brooklyn below and New Jersey above, I see more than buildings and streets and bridges. I see the varying competence of the geology below, of piers and ports active and abandoned. I see the palisades: a 200-million year old slab of rock that formed when North America and Africa were pulling apart, as Utah and California are doing now, stretching Nevada between them. I see what humans do to landscapes covering them with roads and buildings, and celebrating them with parks and greenways. I see the the glories of civilization, the race between construction and mortality, the certain risks of structures to tides and quakes. I see the Anthropocene — the geological age defined by human influence on the world — in full bloom, and the certainty that other ages will follow, as hundreds have in the past. I see in the work of a species that has been from its start the most creative in the 4.65 billion year history of the planet, and a pestilence determined to raid the planet’s cupboards of all the irreplaceable goods that took millions or billions of years to produce. And when I consider how for dozens of years this scene was at the crosshairs of Soviet and terrorist weapons (with the effects of one attack still evident at the southern tip of Manhattan), I begin to see what the great poet Robinson Jeffers describes in The Eye, which he saw from his home in Carmel during WWII.

But it is astronauts who see it best, and this film is theirs. Hope it can help make their view all of ours.

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