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Gnamma #67 - To Integration

I tried some stabs at a "reflections on 2021" newsletter but they felt a bit too self-indulgent at first. I try to put most of the self-indulgence in my diary instead, or share it with close friends. That said, I think that sometimes it just feels awkward at first to perform as yourself, but it's necessary anyway. Performance to others is not a lie, but an opportunity to render yourself legible to the world, a kind of active sharing. 

2021 will go down as a year that I started getting my shit together professionally. I'm constantly embarrassed that it took me this long, and that it will likely take me longer until I make enough money that I can meaningfully save some of it and get some life projects underway. But hey, life through till now has broadly been weird (and thus good) and sometimes fun, too. For that I'm thankful. I re-committed to my PhD in 2021, and it has paid off with my first-ever sense of professional capability and opportunity. For me, it's been about finding a pathway into which I can stuff nearly everything I care about: fun abstractions, pedagogy, fabrication, landscape evolution, sustainability, social trust, infrastructure, etc etc etc. 

I used to hold some resentment for folks who were really passionate about their careers, who intertwined their identity with their work. I think at least partially out of an immature contrarianism to my perception of my parents' paths through life (hi, mam and dad). But 2021 was also a year I got a lot better at being honest with myself, and in that I was reminded that of course I want to be passionate about my work. All by "my work" I mean all of life, not just "my job." I read The Will to Change by bell hooks just weeks before her death (RIP) and the parts of the book most meaningful to me were about integration and how compartmentalizing parts of one's life may be holding us (men?) back from genuine connection, vulnerability, honesty with ourselves and the world. My inner life is pretty chaotic, and in reading hooks' words, I realized how much I have held my internal soup as a point against myself, as an example of my insufficiency to be clear-cut between the elements of my life. I tried to put up rules and boundaries for myself, denying how affected I am by everything around me, and how much I want interrelationships and passion between everything in my life. I find myself now more often bored and limited by the scope of dispassion in general. I'm beginning to see my enthusiasms and experiences and patterns of thoughts and as just the palette I'm working with in life, and how unique that palette is. (I am excited to see it change as well.) 

I feel very thankful that I have friends who let me play gonzo environmental epistemologist and that I've managed to go surfing a lot and pay my rent at the same time. 

Otherwise in 2021? I tended to a creek in San Diego County while the seasons changed, I went to the desert for a week by myself (one of the most pure brain cleanses of my life), I enjoyed the dancefloor of some great techno shows, I bought some pink pants, I read a lot. In 2022 I want to plant a garden, work on my spanish, and, fingers crossed, schedule fewer things. 

Anew,
Lukas
#68
January 3, 2022
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Gnamma #66 - Sensing Through the Cam

I'm teaching a class in the Spring 2022 semester called "Field Sensing in Environmental Engineering." The intent is to share with undergrads the fun of making sense of environmental data collected by electronic sensors. While the class has some technical goals to prepare students for jobs in industry, I am looking forward to some of the early lectures with a more open-ended air. What is a sensor? How do sensing tools relate to our innate senses, or reflect the programs of the sensing paradigms that create them? Lots to explore, maybe more on that later. 

One specific thing I want to remind students of is that a camera is a sensor. The ubiquity of cameras in life today makes this easy to forget, but this does not undermine their value. In fact, ubiquity can be great for scientific ends! Some of my recent work in remote sensing has reminded me that a normal photo, with RGB intensities at each pixel, carries a huge amount of data, and there are interpretations and derivatives of the data that yield a lot of value. One of my colleagues is using cameras to monitor ocean conditions in northern Alaska, where use of in-water sensors would be risky due to cliff failure and sea ice. Basically, with regular captures and a little calibration, a camera becomes an insight-rich data stream. 

I'll be speaking on Friday, December 17th at the Are.na Annual event because I have a short piece published in the Are.na reader this year! The piece is shaped around my "surfline cam screenshots" channel, a compilation of screenshots I've taken from Surfline.com cameras. These cameras are 24/7 live feeds of surf breaks around the world, letting surfers "know before [they] go." The images the cameras capture are evocative, for me and thousands of other users, I'm sure—channeling joy of surfing and being in the water. But they're also dense with information that we attempt to sense from our screens at home: most surfers (all amateur coastal oceanographers) desperately squint at the pixels on the screen, reading them into a cohesive understanding of the wave conditions. 

When was the last time you watched the entire sunset? Watching, from before dusk until after dark? Sometimes it makes me cry, how beautiful it is. And what I love about the sunset is its banal sublimity: it can be soul-stirringly beautiful, but there will be another tomorrow. How lucky we are! I feel something similar about these automated cameras. They always show the same view, telling me about the wave height at Malibu in a kind of mechanical, standardized way. And yet they capture some sublime sights, some sublime waves. And the often high vantage point of the cams lends a cinematic air to their images. 

Thinking down this line has reminded me of a few other projects that sit with the nature of automatic landscape imagery. First is Jon Rafman's seminal 9-eyes, aestheticizing the gaze of Google Street View. Street view as a platform for hyper-regularized image capture, seeking to be purely "informational" (i.e. as a platform for spatial data and directions), ends up serving as a frame through which we get to see snippets of the wide, bizarre, world. The intentional capture of the artist is removed, and the viewer feels as though we can find the disturbing and the magnificent around any corner. I think 9-eyes plays with voyeurism, too, in that the scenes catch many folks in the photo unprepared, so the viewer feels as though they are peeking into something not meant to be shown. 

Standardized webcams are much more pre-planned, often with a carefully chosen frame of view, although each particular capture is still somewhat "unplanned" in time. There is less surprise than with Street View, and that reliability can be some of the joy. Reminding us what else is out there. I speak to this a bit in my Are.na Annual piece, how the cameras don't just fuel "I wish I was there" FOMO—they also just remind us what's out there, as a dependable reminder of the world outside our heads and screens. Jon Gacnik wrote about the Mt Wilson Tower Camera's 2-minute refresh rate and its slowing pace in an otherwise merciless internet media landscape. (I see Jon and Jon-Kyle's channel as a spiritual cousin to my surfline shots.) It serves as a microcosm of escape: the camera as a peaceful window to the world. Having a camera view also becomes something to look at with others. My surfing buddies and I are always texting about what the cams look like. During early COVID-19 lockdowns, my friend Tristan published a site to connect people to watch the poppy bloom together, with music that responds to the number of people in the audience. I like this project because it's a great example of connecting people by celebrating the affordances of the automated camera. Not encouraging people—with any immediacy at least—to go to the place itself, but for the different experience of enjoying the landscape from afar. 

By sharing the view, we can share in sensing and feeling the landscape out there, together! 

Watching the tide, 
Lukas
#67
December 10, 2021
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Gnamma #65 - Acequias

Acequias are communally-run water systems (aqueducts or ditches) in Iberia and Spain's former colonies. They are most notably present in the American Southwest, especially New Mexico. There are some similar forms elsewhere—levadas in Madeira, indigenous technologies (like puquios) in the New World, and more—but I will use acequias as a bit of a proxy term. Their history seems to be tracked to the qanats of Persia, brought to Iberia through Arab expansion, then to the Americas with Spanish colonization. 


Acequias are coupled hydrologic-economic-social systems, whereby water, a scarce resource in arid and semi-arid climates, is allocated for agricultural use by communitarian societies. The "water democracies" they are related with historically give voting rights to those who use the water on their land, and enforce management and maintenance duties via social contracts between the acequia corporation members. In drought times, the water scarcity is taken as a collective burden, and water is managed to as to balance collective needs, aquifer recharge and the sustainability of the entire acequia system. They are networked, whereby individual plots cannot necessarily be turned off and on without impacting the integrity of the rest of the system, which helps in upholding a collectivist attitude (ref).

That is the ideal at least. Water in arid places is an impure public good: the systems that carry it can become levers of power which exclude, uphold class divisions, and drive unequal labor practices: they are social systems first, technological systems second. And with any social system, broad strokes governance procedures ignore the messy reality of dealing with specific people and roles in an ever-changing environment, exposing how much effective management by people requires emotional intelligence and trust. Equitable service by and maintenance of the system requires it to have memory of the roles of its constituents, and to respond in reasoned ways to the events that affect them, the social context of exchanges between people, and the lands and ditches themselves. The networked infrastructure must be an active, living assemblage: it dies in the absence of social relationships upholding its value (and maintenance). Both of these papers bring up how critical it is for people to have a shared moral fabric to keep systems sustainable in generational time or longer, which may be religious or familial in nature. For my western social class, it is common that neither religious nor family ties are particularly strong: what social fabrics can be woven today to honor good-faith infrastructure maintenance? 
"Within the social and cultural domain of qanats, we cannot find a single motivation as a driver for the existence and functionality of qanats. This is because qanats are more than just economical, technical or even agricultural assemblages. Inside the qanat’s social ecosystem the political, religions, technical and socio-cultural institutions have been faithfully linked together." (ref) 



I have an enormous slew of questions and thoughts on these kinds of water systems. Mostly curiosity: there is very little information I have found on actual governance patterns of acequias or qanats. Things are so vastly different here in California, where the greatest water infrastructure on earth (?) is completely alienated from its users' daily needs and social fabric. I am somewhat curious if I can find a creative grant program to fund me doing some visits and research on these topics. I wonder how much these deeper-time histories of collective infrastructure governance can inform stuff happening today, whether in environmental economics or crypto. (Or, both?) Time will tell. Thanks to my friends AWS and TA for some conversations around these ideas. 

Relatedly, I am giving a Sandbox✦ talk at TRUST next week! It is on Tuesday, November 9th at 11am PST. My talk is called GREEN SPACE AS INFRASTRUCTURE SPACE, here is a blurb:  
Pressing material and political incentives are encouraging wider application of environmental economics to ascribe value to environmental processes. By accounting for the “ecosystem services” they provide, more and more landscapes can be valued, celebrated, and maintained as “green infrastructure”. In California, the state’s terraforming project and water infrastructure are nearly one and the same, but water scarcity threatens the abundance mindset. How far can we abstract a landscape into an infrastructural, economic entity? 
#66
November 2, 2021
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Gnamma #64 - Good Marsh, Bad Marsh

I've just begun preparation for my PhD qualifying exam. In my department, this is the biggest pinch point of the entire doctoral program, and it entails mapping out the nature of my dissertation and providing supporting evidence that I have everything for it all to happen. I'm interested in many things (can you tell?) but ultimately my dissertation will be about salt marshes. 

Marshes are high priority for attention under climate change and environmental collapse because of the myriad "ecosystem services" they provide (sometimes also called "environmental services"). These include: providing crucial habitat for various species which support broad food webs, filtering out toxins as water moves through them, sequestering carbon, and ameliorating flood risk to local areas. Ecosystem Services is a bit of an anthropocentric term in how it positions the environment as subservient to humans, valued only for the typical kinds of civilizational activities the ecosystem can support (ala infrastructure services), but seemingly a necessary designation in order for capitalism to value these places. 



Does a marsh support the GDP? If this wiki page is any indication, it's been an ongoing challenge to assess ecosystem services the way we might assess a new outlet mall—as an investment by its developers and with some kind of revenue per square foot. I believe that a lot of this is due to the intelligibility of benefits by engineered versus natural features on the landscape. A new shopping mall is a planned, designed space with particular measurable physical and economic metrics in mind: a spatial and intellectual parameter space that is articulated in advance by engineers and planners on top of a razed ("empty") lot. At the core of engineering is the drawing of a system boundary around the system, and relative neglect of that which falls outside the system. This approach means that in any system, we essentially only measure that which we anticipate, that which we know how to measure, and that which we follow after the system boundaries have been drawn. All the rest are externalities. As far as metrics go, monetary values of goods and real estate are concrete numbers which are closely monitored and comparatively "easy" to reckon with (sorry, economists). When we want to pin monetary values to environmental metrics and their effects, a lot more complicated work (or a broad set of assumptions) is required to quantify the metrics and their repercussions, given that most ecological processes do not obey firm boundaries in space or time.

What I mean to draw attention to is that it is really quite hard to measure and causally relate all of the things that any given land cover does to the world around it, because hydrologic and ecologic processes are patchy and happen across complicated micro-, meso-, and macro-scales. They defy the typical ways that civil engineering projects are measured as successful or not—as within the bounds of a designed system. It's difficult to say what processes in the world need to be included or not in the accounting. (I am a proponent of afforestation efforts in general, but as I wade into the literature a little bit more, I have learned that the devil is truly in the details when it comes to net carbon budget effects.)


This difficulty comes to a head in carbon markets as well as what I will broadly call "green infrastructure." By the EPA's definition, green infrastructure only means when grey (i.e. concrete) flood control infrastructure—storm sewers and flood control channels—can be replaced with more green space. Soils and plants are, generally, good at absorbing water and playing this role, but they may not function within a narrow parameter space that is preferable to engineers. I think the denomination "green infrastructure" deserves to be at least a bit more expansive: there is solid evidence that green coastal margins (beaches, marshes, mangroves) provide more effective, resilient, and dynamic flood protection than concrete seawalls. In the near future, as technocratic carbon sequestration projects will grow to a scale similar to our water and energy infrastructure (optimistically???), I hope that natural carbon sequestration will also be considered a part of "green infrastructure." 

For us to position the lifecycle of a marsh as if it were a grey infrastructure project requires improved quantifying of its infrastructural roles, which requires a lot more research! (I hope that my dissertation can contribute to this.) We still have a lot of big questions around how a marsh even "works." How does water flow through a marsh? hard question, incredibly. How fast does it sequester carbon? Uhh, this we can actually measure with some careful assumptions and cores, but it may come with wide error bars. How many species does the marsh support? Good luck counting butterflies. 

But we also don't really grasp all the impacts of paving over a marsh to build on top. Maybe the local flood risk will skyrocket, maybe the dandelions will love it. A wonderful conversation with AWS this past weekend also pointed to how the greening of grey spaces will often come with interest in "redevelopment" or up-zoning, and various good and bad and complicated repercussions will follow. The eco-utopian in me wants to believe that efforts towards replanting and ecosystem restoration (or, more generally, degrowth with its landesque repercussions) will come plush with unanticipated benefits that may be good for environmental health, and that we can ease through this awkward instrumentalization of ecological processes to justify their care. But some systems are complex to the point where we don't know what is good or bad for them a priori. And, through some logic of ecosystem services, good or bad for humanity. 

Producing revenue,
Lukas

#65
October 11, 2021
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Gnamma #63 - Distantly Burning Fires

The title of this post is a term my friend Nic used, years ago, to refer to industrial electrical energy infrastructure. Because electricity demands immediate use, we have found creative ways to store and distribute and manage generating sources so that it is available the moment when we need it. Energy systems are constantly tweaking their output rates to keep up with the people they serve: when you plug in your computer, a generating station somewhere adjusts its output to accommodate such, which may mean burning more coal, pulling water out of a reservoir, or tapping into another wind turbine. This is a nuanced game of energy sloshing around, trying to match it to its customer, trying to minimize excess economic losses and unnecessary burning. 

Deb Chachra writes here about our societal access to exogeneous energy and references Amartya Sen on how this infrastructural access to energy gives people more freedom in deciding how to spend their time. (Freed from the demands of having to generate our own.)  This definition of "infrastructure" extends some of what I wrote about a while back, with Chachra highlighting both the collective nature of infrastructure and the individualized benefits of such. A new definition that I like may thus be: infrastructures are collective systems (at-scale, inclusive, publicly managed?) that benefit personal freedoms. 

The fires are burning somewhere, however. Chachra's piece highlights the spatialized impacts of infrastructure systems, characterizing energy from burning fossil fuels as "displaced harms and localized benefits." For services like power, those who benefit are those who live within the service region, and those who suffer the emissions are both those near the plant (for the heavy toxins) and everyone, via global carbon budget. Exhaust-generating plants (and waste sites in general) are generally outside of the wealthy (generally white) cultural centers—pushed to regions where the populaces are sparse or disenfranchised enough to not push back. Another bit of traditional physical infrastructure, roads and bridges, follows a different model: the negative effects of road-building (poor site hydrology, noise, erosion, traffic hazards) tend to be the burden of the locals, and the benefits are split between the locals and those driving through. 

Lelah Khalili acutely points to the deadly inequities where the negative externalities of infrastructure accumulate, whether at-site or at-a-distance. Whose land was flooded to make a reservoir? Whose land is contaminated to burn fuel? Whose land was cut-off from the neighborhood for a freeway to go through? Whose land lost its stewards in strife over mining rights? 

The displacement or disregard for negative effects is a game of power and visibility. As many things in the world have liquified and media access ballooned, the stubborn realities of physical infrastructure, physical wastes, physical hazards may begin to feel all the more apparent, slow-moving against the foreground of digitally smooth access. Even the "slipstream" generation who trivially move through the world on a cloud of wifi-enabled mobile work can feel the world catch up to them (us) when Tahoe's on fire, New York is flooding, and travel restrictions prevent an escape to New Zealand. Elvia Wilk really nails some points on class power and mobility vs. accountability and waste in this essay, delineating the extent to which the freedoms enjoyed by the leisure class are what are major drivers in the social and physical crises of today. When I plug in my macbook, some lump of coal is ignited, and my class dictates how easily I can avoid the spaces where the externalities of such are accumulating. 

Despite AirBnB's billions, place is still non-fungible and the fires are still burning somewhere. (Or trash stacking up, somewhere, if you prefer that metaphor.) I think the hippies got at least something right in focusing action locally, which is the only scale at which the human brain seems to be able to grasp anything. "Developed" infrastructure systems, however, have networked localities, making it such that when I turn on the tap (here in Oakland, California), I am pulling, via via via, from the Sierra Nevada. That's not somewhere, any more—it is a real place that I know and appreciate, a real place that is dysfunctionally burning. To me, this is a hell of a displacement of harm, reflecting priorities of generations of policy and system maintainers on what land where is valued. I was intrigued by Chachra's reference to Sen, as he is known for coining the term Landesque Capital, which helps articulate the relational (and often social) value in land, reflecting the uniqueness of it as a good. I am thankful that I have the freedom to not lug water every day, but I need to stretch my sense of "the local" in order to identify the spatial impact of the systems I have stake in, to bring the fires a little bit closer to home. 

Distantly waving,
Lukas

P.S. I published a short story called "Where The Sea Flows Uphill" about some potential positive externalities to large-scale environmental restoration work in the Tijuana River Estuary. The story is part of a larger project on speculative futures of the Civilian Climate Corps. Please read! And if you are inspired about place, or the CCC, please reach out to write your own, I would love to help you get started. 

I have enjoyed spending more time in the TRUST discord recently (join me in #climate). I will be giving a talk later this fall there on "Green Infrastructure" and what a strange term it is and what it connotes in the relationship between civilization and the environment. Stay tuned for date/time! 
 
#64
September 18, 2021
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Gnamma #62 - Dear Jay

Dear Jay, 

Writing to you because it has been a very long time since I've had the kind of fun, open, intellectually-curious conversation that defined our relationship in the later years in Providence. It isn't entirely true—I had a small dinner party a few weeks ago and we got some decent group discussion going—but it feels true. Maybe slowing the intellectual churn post-college is just how it goes, or maybe it was the quagmire of COVID. The disease and the death and the news and the money and the separation and the eye-clenching frantic everything of the past year turned me into an ooze. There's nothing wrong with being shapeless, necessarily, but this pile of muck wants to put on a burgundy shirt and have some sense of direction and movement in life. I wrote in my last newsletter about developing one's narrative of self, and Kyle Chayka further articulated how performative this can be given the current state of affairs. One coping mechanism to this miasma for me has often been through conversation with those who have interesting perspectives, and this is why I write to you today. It's really nice having Nate in the bay now, too. 

My friend Jimmy lent me David Bohm's book On Dialogue and it felt perfect for me in this moment. Isn't it a joy when words find you at the right place at the right time? There are too many words in the world to put up with anything less, I think. I read it very slowly, partially because I didn't know how to choose what to read next (some Donald Judd essays, ultimately) and partially because I liked it so much. Bohm writes with an arrogant confidence that seemed to pervade white male academics of the 60s, which I am guiltily attracted to, due to its contrast to my more tepid and nervous tone when outputting words and ideas. The book inspires introspection, not in a selfish way but in a kind of networked, contextual way: celebrating the process by which an identity is constructed by all of its touchpoints within the world. I am the way I am because of how my blood pumps nutrients to my cells and because of the values I learned growing up and because of how my parents speak to me, that these aren't just facts that point to "me" as an entity but rather they are part of the constellation that IS "me". The same can go for thinking: Bohm says that being aware of ones own thinking thinking is less about charting some particular trail of thoughts inside our heads, but more about noticing all of the influences on us that lead us to view things a particular way. He calls this mode of thinking and seeing "proprioception of thought." Given my love of proprioception (which has always drawn me to the embodied elements of dance, architecture, sculpture), of course I love the term. Honing one's proprioception of thought, I believe, is a large part of the intellectual project, and I'd like more of it in my life. 

I felt like myself when I read On Dialogue because I want so badly to participate in intellectual culture, and the act of reading it and the act of getting into the kind of dialogue it espouses seem like ways to touch this goal. One could frame my move to California as an attempt to push my intellectualism away, but eventually it caught back up to me. In the mean time I've learned how to enjoy some of the physical pleasures of sunshine, cool ocean water, and tall mountains. I just watched a short film on James Baldwin and it flared up, within me, a romanticism for European cafe culture. Here in California, the best conversations seem to happen on a run or bike ride or surf or drive. The urgency of cigarette-fueled conversations on the nuances of interiority seems to evaporate under dry sunshine, and the more open-mouthed Californian intellectualism takes on a different flavor. I speculate that the scales of nature here preclude high-level navel-gazing. Human endeavor feels a lot smaller, less important. I was working in the southeast part of the Bay a few days ago, which, in perspective, put the Salesforce Tower directly in front of Mt Tam. The tower is puny. I remember chuckling, thinking about a half-baked essay I read, years ago, about why surfer slang was so sloppy and nonsensical: the author said it was because dealing with the ocean up-close like that is actually so insane and so subtle that it is difficult to articulate the sensations involved. So surfers resort to platitudes. I think the same could be said for other features of physical geography: reducing us to awed mumblings. Tya has recommended this book Mountains of the Mind to me on two occasions, perhaps it will hold some insight in more delicate articulations of environmental joys. Or maybe I need to befriend more of the Philosophy department. 

Bohm talks about all kinds of things, including the incoherence of society (the best cure for which seems to be group identity) and how most explicit thought is incredibly fast (minutes), and then we spend hours re-hashing it all over and over for no particular purpose. I have felt frustrated with research recently due to it seemingly embracing both atomization and constant rehashing, and I have felt too busy with small tasks to zoom out and enjoy the higher-level elements of my work. Or, hell, going to conferences. I wish, romantically, that my life could mostly be in response to more necessary things, working more closely with people on shared tasks. This is some of why I enjoyed teaching work. (And I suspect this sentiment fuels most of the back-to-the-land stuff for our generation.) I wonder about living on a sailboat, and if it would let me save more money than paying rent in the Bay Area. At least then I would have urgent and laborious chores to attend to all the time, as right now I give myself too much time to think. Let me know if you have any ideas for second jobs I should take up with that time, for I am broke once again. Have you read this poem by Tracy Smith? I shouldn't really complain—I'm not as scrupulous with my money as I could be—but I do look forward to a moment in life when I can buy wine without any guilt about it, or, really, I wish that I could buy a plane ticket and unplug for a little while, or see all of my friends and family. Instead I spent it on a dentist bill. 

I've been seriously behind on both some professional and personal work, but nothing gets done without the brain ignited. Here's to catching up and catching fire, please let me know how you are doing. 

In dialogue,
Lukas
#63
June 25, 2021
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Gnamma #61 - Blue Mage

I had a conversation a couple months ago with a new person, and their first question for me was "what's your niche?" I almost flinched. Academia is certainly a game of niches, and most professional environments want to slot people into specific roles, too. I love having many interests and the cross-pollinating potential that follows and there's plenty of media out there that celebrates being a generalist, but from where I sit, it is still an uphill battle to wear the badge in everyday life. 

The rub is the weight in entertaining so many futures and keeping up so many threads. One approach to lighten the load is to reduce an interest into a passing fancy: this is the path of the dilettante, practically a dirty word (I once used it for myself in a professional context, yikes). I'm keen on finding other ways to dissolve the weight, to be able to sit at the intersection of many things and have the tension be a source of energy rather than strain. I appreciated some of the language in Ava's recapping of a recent book on the subject, which draws a line from my "extremely logged-on" youth—in which the internet gives a sense of "infinite browsing" and infinite potentials—to an inclination towards a lack of commitment to a certain body of knowledge. (tl;dr: it's all out of fear.)

Increasingly, I've been trying to log off: I know that my happiest days are those in which I forget to go online because work is urgent or interesting and my friends want to go surfing or drink some wine. Less noise cultivates focus. But I grew up online and have too many connections with lovely people through the internet for me to fully remove my online presence: instead, I need to find a strategy that helps me maintain sanity. Instagram and its ilk are FOMO machines, and they exacerbate the struggle I have to maintain a strong sense of self. I think that if you know what you are prioritizing in life, it makes it easier to absorb or deflect or respond or ignore the online deluge. But answers to questions such as "what do I like?" or "what am I here to do?" have generally been slippery to me: I have days where I feel like a half-baked character, ready to absorb whatever next ingredient I consume. 

With this in mind, when I read an essay on Main Character Energy, which starts by rephrasing a TikTok: "You have to start romanticizing your life", my ears perked up. The piece identifies the directive as a way to capitalize on the central-tendency form of celebrity on social media, to battle the unsatisfying returns of being "shapeless online." There is so much value in non-performative celebration of self by construction of some kind of narratives (perhaps episodic rather than grand, thanks again, Ava). I *think* this is pretty basic self-care kind of stuff, but it feels more important than ever to have a few tools against the atomized incentives of the media landscape. Narratives of self also cannot come at the expense of group solidarity: this kind of balancing act was called out as "squads" by the folks at Other Internet: narrative-building and identity with others at a human, rather than corporate, scale.

(From the peak of my Styleforum days, I remember a guy who would post short sci-fi stories with himself as the main protagonist. Each short story was coupled with an outfit. I found it ridiculous at the time—despite the cool outfits—but now I see it as a useful tool, an opportunity for those who disapproved show themselves the door and for the author to help himself inform and support his choices. A very distilled example of "main character energy".)

The PhD experience is tough: it is incredibly atomizing, provides little information on pathways for the future (unless you're totally committed to academic work), and, in my experience at least, demands pushing at the edge of your skills. I have to learn new skills every day to do my job—which is awesome but also exhausting. There's failure every day, and this also wears at the sense of self. 

Thinking about "main character energy" returned me to my childhood, filled to the brim with video games. Some of my favorite video games were Tales of Symphonia and Final Fantasy Tactics Advance, both of which include organizing teams of characters to complete grand quests. My favorite characters in both were those who could both fight using the physical weapons as well as use magic. (In Tales of Symphonia, all but two characters only could do one or the other, essentially; in FFTA, you had to really carefully develop characters to do both). One of the most interesting characters in the Final Fantasy universe, to me, is the Blue Mage, a class who learns skills not so much by practicing them (as most classes do), but by being hit with them from enemies' attacks. Blue Mages end up with a wide repertory of unique skills, but only because they suffered through being on the receiving end. I don't see myself as a victim of any attacks—but a narrative built on learning through failure and celebration of a wide array of skills does sit right with me. 

With age and practice, my "niche" is clearer than ever, and I'm getting better by the day at putting up boundaries to help me actually prioritize what I want to, but the "Blue Mage" mentality also really helps me think that there's still a lot of space and value to my wide-open approach to the world. 

Getting hit,
Lukas


p.s. This post morphed a lot; I originally wrote it about my "depressed boys chat," which wasn't actually a single chat group but rather the handful of 4-8 independent long-form texting conversations I had over the past winter with some men in my life of a similar age. The common thread is that all of us were depressed, lowercase d at least. Common threads are loneliness, aimlessness, lack of agency. I've written here about how I'm responding to some of that (and I'm lucky to feel anything but lonely: frankly, overwhelmed by the social demands of my vaccinated social circles). But I am looking to learn more about  how people characterize the various flavors of loneliness (i.e. in youth vs old age or a "lonely around people" vs truly-remote loneliness) and its intersection with masculinity. Let me know if you have any recommendations. 
 
#62
May 21, 2021
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Gnamma #60 - Double Negative & Seven Magic Mountains

In the span of one day, I was able to see two land art pieces: Michael Heizer's Double Negative and Ugo Rondinone's  Seven Magic Mountains. They straddle Las Vegas and, in-between them, I enjoyed some chicken tenders in a Vons parking lot, feet dangling out of my car's hatch back as I witnessed a rare desert rain. That's where I started thinking about the comparison of the two. 

Double Negative was a pilgrimage destination for me, and Seven Magic Mountains just happened to be on the way, and this seems to fit with what they are respectively attempting to do. 

Double Negative has no directional signs (I was following Google Maps / the MoCA directions), no interpretive plaque, and exists tucked behind a mesa, pretty easy to miss. It's about as remote as you can get in the United States outside Alaska. In the 50+ years since Heizer carved the canyons, they have done exactly what they were meant to do: erode into the landscape and behave much like any other canyon would. That is some of the point of the piece: it becomes a particular destination that demands you ask how the landscape will respond over time, even though you could do the same at any arbitrary cliff edge. It's difficult to take a picture with the piece, to get good perspective on its volumes. Maybe it is just hard to capture and photograph a hole (but this does a good job). I was there entirely alone, aside from a cow grazing on the mesa when I woke up. 

Seven Magic Mountains, on the other hand, has signs that tell you where to get off Interstate 15, where to turn, where to park, as well as plaques that indicate the artist and his intent. The piece is squeezed between two enormous metropolitan tourist destinations. It stands tall in the valley floor with its fluorescent colors: you can see it from the freeway. It's virtually built to be instagrammed, as energetic colored forms that stand totemic, in dialogue with more traditional sculpture forms. I was surrounded by folks taking selfies and doing photoshoots, with the obelisks serving as backdrop. I wonder if the paint gets touched-up as it chips. 

I am exhilarated by Heizer's challenge of how to interact with his piece. I spent my time at Double Negative trying to sleep and then make coffee despite the howling winds; essentially, figuring out how to co-exist with the environmental conditions, and I can intellectualize this into some kind of joy. At Seven Magic Mountains I took a selfie, walked around for a few minutes, and got back on the freeway. I wonder how it would have been different if I had stayed a while, sitting with the piece longer. 

I hold enough romanticism for the 60s/70s land art movement that I feel favoritism to Double Negative, and that Rondinone's piece and its cultural context are garish in comparison to Heizer's understated expression. But I also think it is insane to say that anything is showy relative to the audacity of scale that Heizer has brought to his work, and I perhaps didn't approach Seven Magic Mountains with a very open mind. Telling coworkers that I was visiting Double Negative exposed the weight of explaining just what the fuck it is and why I would care: Heizer's piece mostly exists an intellectual experiment for those in the know. In contrast, Rondinone's is broadly enjoyable: when I show pictures of the piece, it is immediately clear "what it is" and how to interact with it; it's candy colorations need no overthinking to be fun. 

Quoting Jordan Carver's essay on Land Art vs. Google Maps: 
The status of the image as integral to land art, earthworks, and other works of art not easily accessible for average viewers was not unrecognized before [Rosalind Krauss wrote her essay, Sculpture in the Expanded Field]. In 1971, when Gregoire Müller asked Smithson about the importance of photography for works made in the land, he responded, “I think we are actually talking about multiple ways of locating a thing, and one way to locate a thing is to circumscribe it with a photograph. If you are flying over a piece, you can see its whole configuration in a sense contracted down to a photographic scale.” 

Seven Magic Mountain's discoverability and legibility work to unite the piece and its photograph, which simplifies some of its relationship with its audience. It told me of its existence while I was going 80mph on my way to a bachelor party in 2017. For Double Negative, I needed to know of its existence to interpret it as art. Photographs of the work are the only thing that actually got me to make the dead-end journey to visit the site of Double Negative; the photograph preceded my reading it as an art object. Seven Magic Mountains was along for the ride, no explanation needed. 

Globalization, the internet, and subsidized air fares have shrunk, dramatically, the distance between being aware of something and being able to touch it and see it in-the-flesh. Heizer's piece is dependent on the existence of this distance to preserve its mythos. (This hilarious story, which is where I learned about Double Negative for the first time, plays with exactly the distance and information dynamic: what if there was a second Double Negative—a double double negative—that visitors would see first as they drive down the dirt road in search of the "real" Double Negative?) Heizer's piece still hides its intent, pushing its discourse into furtive art-world corners. In contrast, Seven Magic Mountains has embraced the dissolution of that distance and opens itself up to anyone who happens to be driving between Los Angeles and Las Vegas.

Sunburnt,
Lukas

p.s. some photos of each site doing what they do best: 
 
#61
March 28, 2021
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Gnamma #59 - Spatial Arrangements of Care

In a group chat recently we had a conversation about loving and hating museums, and there was some agreement that going to a museum is less about the art and more about the spatial experience of "being in a museum." 

This really resonated with me. I do, flatly, like art: I was only a class or two away from an art history concentration in college, I love reading about art, and I go out of my way to see it, too. Despite this, I've often had a hard time articulating exactly my tastes and preferences for fine art, and how or why it meshes with my tastes in dance-ey spatial-ey performance art. This conversation helped me acknowledge that yea, I almost prefer museums to the art, and the art I do like explores the feeling of the body in space, the relations between body, space, form, architecture. This is part of why I like community work spaces so much: full of people, tools, and physical constructions getting reconfigured over time. 

In summer 2015 I spent some days in Paris and I was able to visit Brâncuși's studio which speaks directly to this: his "mobile groups" are performed sculptures, impermanent arrangements of different shapes in space that slowly or sporadically get moved around and reworked. I lapped it up. The fraught finality and commodified positioning of an art "object" can be so frustrating; like the relational postmodernist I am (you have full permission to shoot me for saying that) I am excited by the un-collectability and more nuanced value assessments of ongoing, performed work. To me, this approach embodies more of a maintenance mindset: Brâncuși keeping the sculptural arrangements moving could be viewed as an act of care, providing moments to touch and attend to the constituent parts. It becomes  an act of gardening—not an object but a process.

When I moved to the west coast, I became more interested in land art, and landforms in general. I backed my way into being an environmentalist out of a love for sculpture, recognizing that the forces that carve and shape landforms are just as fascinating; you just swap the artist's intention for the emergent dynamics of the world. Large-scale land projects require maintenance as well: this is what led me to go into civil engineering. But, we too often budget and plan for one-off projects instead of investing in a system of maintenance and care; this pattern writ large has done the human race no good. 

I went to a museum a couple weeks ago, my first time in a space like that since the beginning of COVID. I still love that shit, but mostly I'm thankful that these days I can go outside and move plants around. 

Rearranging,
Lukas
#60
March 7, 2021
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Gnamma #58 - Elliptical Commitment

Let this message serve as a commitment to begin writing regularly again—I'll aim for biweekly. 

I don't have a great track record in terms of commitment to completion: I tend to have far too many unfinished projects sitting around, and WFH has only exacerbated my difficulties in focusing, with no particular spatial demarcator of the work day. I'm being a bit dramatic here—I'm still getting some things done—but many days feel like they widen the rift between what I'd like to be doing and how I'm actually spending my time. This has been intertwined with a mire of depression that ate up all of fourth quarter 2020, and it took longer than ever to resuscitate the methods I know to get out of that mode. Routine, physical activity, sunshine, eating well, connection with others, exercises in agency, and, ultimately, a belief in myself. (It seems so simple to write it out, but I'm also just gliding over the fact that we're in a pandemic and there was an attempted coup and some personal complexities...) The turning point out of a depressive episode always seems to be the moment when you recognize that you want to be better, that you want things to change, and that you make a plan towards it. 

I used to think of that desire to "be better" (i.e. not depressed) as a one-and-done thing. Naively hoping that by getting through a depressive episode, I'd be in the clear forever. I believed I could change myself in a way that would stick without continuous maintenance. At a broad level, I do believe in the human ability to change but that it becomes more difficult with time (something something neuroplasticity). And, well, depression is a beast. I realized recently that my first serious depressive episode was around when I was 18. (I think—I also had low feelings as a kid, but I remember that less clearly.) That means I'm a decade into this process which will probably last until I die. A long-term outlook on depression is new to me, and I'm trying to embrace it: to understand that I'll revisit it periodically like a long-lost moon. 

Ava's newsletter has been a source of resonance recently, as she brightly articulates some of the trials of being in this late-20s zone, where there can be tension between a youthful desire to change and a more mature sense of knowing oneself. But this is not really a binary of flowing water versus frozen ice; I think it is about configuring a practice of self that includes knowing what can change and how to make the change happen. Action for change can begin in an instant, as long as it is revisited and maintained. You've got to launch, and then do the work to stay in orbit. 

I passed one of the big exams in my department's PhD process recently. It's an annoying but useful mechanism, to articulate a research direction with longevity; ultimately, it served as a great exercise in actualization, asking me to celebrate and sing myself. The exam is in the rear-view mirror but much like my moods, its implications are not limited to a single occasion: the work from here is about setting up a system to maintain a sense of movement and progress to hone ideas and findings. A commitment to the subject as well as myself; another instance of revisiting and maintaining and orbital dance. 

This newsletter feels far more narcissistic than I'd like—sorry for that. I've been spending so much time with myself through the pandemic that I feel pretty sick of my own bullshit, sick of this depressive loop around my own bullshit. My bullshit is an orbit of itself, but one that requires building centrifugal force to escape, in search of other commitments to myself and my research and my communities.

Here's to the nurturing of the orbital dynamics of our inner lives. 

At escape velocity, 
Lukas

p.s. A bit of a narcissistic dive no doubt, but I am motivated to revisit Seeing is Forgetting The Name of the Thing One Sees. Irwin's fundamental love for his own curiosity is inspiring, and a practical form of self-love that deserves more celebration. 

p.p.s. What I wrote here is a very individual-scale view of depression, and I'm aware of some of the larger societal/biological forces that drive the phenomenon—they are just outside the scope of what I wanted to write. 
 
#59
February 14, 2021
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Gnamma #57 - Plank Board

I've been surfing a lot recently. This fall season has been stellar for surf in the Bay Area, and one of my 2020 resolutions was to get pitted for the first time. I made it, today at the storm drain at Vicente in San Francisco! Thankful for the small personal victory. 

I've been switching boards a lot recently, too. I have a 7'6" Bonzer, and 6' quad fin, a 9' performance longboard, and now, thanks to Callil, a 9'4" log. I've taken each out in the past month or so. I've been casually looking at other surf vehicles too, noticing a few folks out on surf kayaks in the lineup—a relative novelty—and investigating mat surfing. There's friction between folks who choose different vehicles: the surfers hate the boogie boarders, and the surfers have the stand-up paddleboarders, too, goes the stereotype. The foil boarders are the worst—they can catch the waves so early! And I'm sure everyone hates the surfers too. (The real purists are the bodysurfers—shoutout.) Really, it's mostly just annoyance at people choosing to do something different, some small meaningless beef between people all fighting for the same wave. Even between short and long surfboards there's a world of difference in approach. 

But mostly I've been riding my 7'6" board. I'm 6'2" and despite having a 6' board, the 7'6" which feels like the closest to the proportions of my body. For various reasons, I've named the board "Buddy"—it feels like a second version of myself when I'm out in the ocean with it. (It's also the board that I push the hardest, as it is built best-equipped for intense conditions: a true partner in hard times.) I made some repairs to the board recently, and I thought of performing surgery on a human body. 

These thoughts and the recent flurry about this obelisk in Utah reminded me of John McCracken. While I was a docent for the RISD Museum in college, one of my tours included one of McCracken's canonical "plank" pieces—a Grey Plank that lived in the modern wing of the museum. The Plank was a hard object to make engaging for a casual audience: it can seem so simple and stupid. Part of my spiel on the Plank was to note that it is about the proportions of an "average" human, in width and height. And, by resting on the floor, it interacts with other human bodies in its presence rather than existing as a monument, up on a pedestal, outside "human space." He's playing with historical associations with sculpture and bodies, I thought. What I found most engaging about the Plank is how a seemingly inhuman object—rectilinear, polished to perfection, mechanical grey—can feel human in its proportions, casual position in space, and reflection—acting as a mirror to the viewer. 

Surfboards are not quite reflective, but they are much the same in their construction. The museum's description even mentions that the construction of McCracken's Plank is similar to that of a surfboard: layers of resin, polished smooth. The association between surfing and the Light and Space artists isn't new; Robert Irwin drew associations between his work and the particular perfect shine of polished cars and surfboards in the Southern California light.

In all this, I wonder if a gravitation towards surfboards is because, out of the various surf vehicles, they seem to be the option closest to the size of the human body. And we're built to be attracted to body-esque forms. Or, if not that, perhaps I just like seeing the waning sunset reflecting off the wet board surface; the intoxication of that cool, smooth resin. 

Parked at Great Highway & Wawona,
Lukas
#58
December 23, 2020
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Gnamma #56 - The Big Rock Candy Mountain

I've been following Drew Austin's newsletter for a bit now, and he has written pointedly and regularly (unlike me!) on the mutations in urbanism and population dynamics we are starting to see in 2020. 

So many of his posts are great points from which to start conversation, but his notes on how people navigate "where to live" as escapism or genuine need to relocate or some other complex of motivation particularly resonated. As people move, the condition of participating in multiple concurrent realities hit me as poignant, because an increasing portion of my presentation of self is happening through multiple concurrent videoconference and chat windows, and I know I'm not alone in that. Splitting our selves into various worlds—digital, physical, or ones that are both or in-between—adds new layers of consideration to the necessity of place. (I also loved the delicious paragraph on Los Angeles' unique urban condition, of course.)

Mohsin Hamid's _Exit West_ is Berkeley's "On The Same Page" program book this Fall, meaning that 8000 Cal-bound undergrads (plus me) all read the book this Summer. (I can share the audiobook if you want it, email me.) I wonder exactly when the administration made the pick, but it's well-timed for the rapidly fading-from-view Summer 2020, as a reflection on migration (blurred between forced and discretionary) and the idea of escape through black rectangles. Technology plays a meaningful but ultimately small role in the book, giving us little to work with in how Hamid thinks about how to build and maintain relationships _through_ the black rectangles, rather than through the meatspace on either side. 

I found the book refreshing in its plain language and straightforward relationships between how the characters felt and how they acted. (I admit to not reading enough novels!) As the protagonists move through various worlds, they navigate interpersonal change, material chaos, and desperation with a clear-headed approach that comes only with self-reflecting honesty and thought, work that goes unmentioned in the book. Anyone navigating the beasts of 2020: economic and health devastation, deceit (political and public), rapid changes in information, or just lack of ability to read their colleagues' body language via Zoom, can probably attest to needing clarity of a similar sort, whenever possible. 

Helen recommended this podcast, which helps get me closer to my point: as we all navigate the COVID fugue (layered with other more regional disasters, e.g. the fires in the American West), our personal and communal trauma follows us. We can't escape ourselves, but we often use places as placeholders for life phases, and we can return to a phase of comfort, or throw ourselves into something new, or some more nuanced in-between (nothing is mutually exclusive), in our search for clarity. Most everyone I know who has moved since March has done so to be close to loved ones and communities, or to be in a place that feels like home. A few brave souls made solo moves into the unknown. We're seeking clarity and direction and groundedness, and surefire ways of doing so are by connecting with communities and places we trust. 

"Places we trust" as actual geographic locations have only increased in their ability to cut through the (often disorienting, but not altogether negative) plurality of simultaneous digital spaces. Cities remain the sites of cultural action, virtually by definition, and the clarity of mass-scale direct action (direct democracy?)—which manifests in the largest scales in cities—seems to be resonating with many.  Physical reality can cut through the political information war raging on our black mirrors, if not our back yards. 

Inherent in the ability to up-and-move to greener pastures (or even to be a tourist), is an extractivism that is complicated to work against. (I touched on this earlier in the newsletter.) I personally have a little forest of trees that I am lucky enough to have continued relationships with, places I can keep returning to, places to keep going home again. But, as my brother has advised me, there are depths of relationships that are only gleaned through ongoing commitments rather than a passing saccade. I wonder what kind of depths and balances can be struck, or if being "cosmopolitan" in the 21st century is reserved only for the shameless and out-of-touch. 

I'm about to head back to LA for a while, my favorite city in the United States, despite its farcical denial of the liberally-minded urbanism that produces the kind of city Tyler Brûlé enjoys. Something about "both the region and the state of mind" of Los Angeles seem to sit right with me; we'll see if that is still the case. Idealism abounds. I hope you are making what you're looking for. 

In three worlds, maybe four,
Lukas
#57
October 7, 2020
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Gnamma #55 - Residue Spaces

It has been a while! What an insane few weeks. My semester is almost over. I committed to staying at UC Berkeley for a PhD. I hope you are healthy and staying sane. Here are some thoughts about something else. 

I generally believe that engineering has a lot to learn from architectural theory, and I'm going to fumble around to make some connections here. There is almost zero "engineering theory" that I know of, and when I say theory in this context, I mean the discourse in which a field turns a critical eye on itself. The best read I've seen is Florman's The Existential Pleasures of Engineering, which is from 1996 and serves mostly to humanize the engineer in the eyes of others, rather than actually change how the profession reflects on its impacts on the world. 

I'm training to be a civil engineer, which is partly why I find a connection to architecture feasible—they're adjacent fields, concerned with the built environment. The architectural lens has proven good at "articulating wicked problems" (Thanks, Toby) and generally generating discourse around its own importance, almost to the extent that architecture theory can be its own worst enemy: 21st-century architects are expected to nurture a holistic, hyper-aware sensibility, and are then given extremely little power or leverage to act on it. They are forced instead to respond to often-banal market demands. 

Engineering suffers little of this existential crisis, but I think it deserves some of it. So here I am, writing. Environmental engineering (the program I am in, which often falls under the umbrella of civil engineering) is actually a great leverage point for such, because it serves as a doorway to bring in that which terrifies the engineer: messy and open systems. Engineering's technocratic worldview comes intertwined with its approach to define the bounds of its system and control only that system, taking little responsibility for the "out-of-scope" externalities. Good environmental engineering requires an awareness of ecology, which acts to introduce both revolutionary thought and non-systematic dynamics to engineering projects. This scope of the system can get cracked wide open, demanding a more nuanced awareness of the limitations of the "control volume" worldview that engineers often have. At Berkeley at least, much of the department's activism and critical thought comes out of environmental engineering, and this is my theory why. 

I recognized that I enjoyed architectural theory when I picked up an edition of Log Journal in the summer of 2015. The edition—33—was about object-oriented ontology, and I ate it up, amazed at the breadth of what could fit under the term "architecture." 

Ian recently lent me Log 47, subtitled "Overcoming Carbon Form," which couldn't get me more excited, now that my day-to-day work is about civil engineering and the after-effects of our carbon-based lifestyles. Elisa Iturbe's introduction, which seeks to define "carbon form," reflects on an argument you have likely heard before: that the fossil-fueled age has lead to specific conditions in the built environment that expect fossil fuel-driven "normalcy" to persist. The built environment of carbon form is made of asphalt and plastic, demands the car, and generally indexes carbon-based fuels. Iturbe investigates the vast spatial ramifications of carbon form, married to the expectation that cheap oil is a platform on which to build the future of humanity. Civilization has diverged from this narrative, but we continue to have so much momentum... some estimates see that, even amongst huge halts in activity from the global North during COVID-19, carbon emissions plow onwards with only small (<10%) drops.

I was reminded of an interview with Kim Stanley Robinson where he reminds us that "California is a terraformed space," what I think of as a near-total manifestation of "carbon form". I, of course, mostly think about how we have made similar assumptions about water supply. Water infrastructure is perhaps California's grandest act of terraforming, and it is built on unreasonable guesses as to the volume and stability of precipitation in the American West. What are the spatial repercussions of these infrastructure systems? 

Amidst these questions, I finally sat down to read Koolhaas' Junkspace. Maybe he was prescient, or maybe I've only started paying attention recently, but the writing seems as (dizzyingly) relevant as ever, as he reflects on the "latent fascism safely smothered into signage" and confusion of "intention with realization" in our media landscape, no less our public architecture. Drew Austin noticed this too, and draws attention to junkspace's drive to make consumption the primary mechanism by which we can experience "public" space (COVID-19 notwithstanding!). 

I noticed, as I read Koolhaas' "essay," that I craved addressing something else, something closer to the spaces the civil engineer spends time: the landfill, the freeway underpass, the water treatment plant. Junkspace, the essay, revolves mostly around the supersystems of postmodernity as they pertain to the public face of the built environment—Koolhaas calls it Public Space (tm)—despite the text starting with "junkspace is the residue mankind leaves behind". Residue connotes refuse, and the global North rarely needs to look at its refuse twice; I do not think residual spaces are the typical forms of public space to the practicing architect. Residue gets swept away, to the convenience of the client. The "Residue Spaces" generated by the mechanisms of junkspace and carbon form are more interesting to me, as they are often not designed with human experience or consumption in mind. The trash heap, the forgotten corner of a site, the things we outsource to expert systems, hidden to the typical person. (People care about the things they know, no?) Spaces outside of the control volume. "It always leaks somewhere in junkspace"—where do the dregs collect? I am speaking of the parcels of land that don't become humanized because of infrastructure service easements or because they are sites for our waste and logistics. These "leaky" spaces are necessary, in the same way the junk drawer is a necessary by-product of organizing the kitchen: you need a place to capture the rest, to relieve pressure build-up of the system of control. 

(There are two other terms that I feel the need to address: Easterling's "infrastructure space" and Augé's "non-place". I think Easterling and I are interested in a similar topic—the residual spatial products of large-scale systems—but she writes at a level of abstraction and globalization that I cannot quite attend to, yet. Augé's non-place is about transience, but at its core is still about human-scale designed spaces, rather than the incidental and un-occupied.)

Locally, this has manifested in my love for Los Angeles' ubiquitous flood control channels, and for the Bay Areas's junk coastlines. The East Bay is riddled with residue spaces on the bayfront: the enormity of the Port of Oakland and its access parameters for container ships and trucks leaves many parcels of land relatively untended. Two of the most accessible bits of coastline are former landfills. In stark contrast to California's expensive and prototypically beautiful ocean coast, the Bay's muddy, less-desirable shoreline has been the site of disposal (mine tailings, nuclear waste) or industries that required distance from population centers (explosives, sewage treatment), and other infrastructural needs. 

The creation of residue spaces is mostly a mechanism for displacing the unpleasant components of our society away from the people who have the ability to complain. What Francis calls the "re-localization of harm" in this fantastic piece on the state of mining network effects. You can read America's approach for caring for its people in the proclivity for un-housed people to live in residue spaces, or in the frequent spatial overlap of contamination, poor infrastructure, and disadvantaged neighborhoods. In its compartmentalization of the problem into only the "technical" (physical or chemical), and externalizing of the ways in which the residues of engineered systems overlap with lived space, engineering can fail to support equity. 

Residue spaces can be places for environmental hope, though, in lieu of their neglect. Flora and fauna fill these spaces regardless, and they can serve as refugia for species that are getting squeezed out of their other habitats. (Recall that the matsutake is mostly thriving in formerly industrially-logged forests.)

Plenty more to say about residue spaces, and in more detail—but for another newsletter. 

Outside the volume, 
Lukas
#56
May 9, 2020
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Gnamma #54 - Investigating The Wash

One of the most striking features of California geography to me is the proportion of streams that are not perennial. My upbringing was entirely in humid places, where anything regarded as a "stream" basically always had water in it, at least as far as I looked. But common in any arid place are intermittent or ephemeral streams—where water flowing over the surface is not a given. 

For intermittent streams, water may come and go with the seasons. But In especially dry places, these streams become "ephemeral": the water comes rarely, and when it does, it often comes hard. A stream like this may be called a wadi, or an arroyo, or—my favorite, for its other English evocations—a wash. 

The wash is crucial to the native ecologies around it, but it poses interesting problems to geomorphologists and engineers. In much of the earth sciences sciences, there's an expectation that  landscape systems have some kind of "steady-state," a stable shape or behavior that systems tend towards, which realistically means some kind of dynamic equilibrium. Storms erode a beach, but then the waves and tides slowly build it back up; somewhere between lies a stable equilibrium. The timescales can be longer and more asymmetrical, however. Coastal landscapes respond to daily high tides; forests might respond to monthly wind storms; most landscapes are accustomed to yearly/seasonal change. As the extremity of the forcing events and the period between events gets larger, we must acknowledge that these systems have a "background" behavior that occasionally gets knocked out of sorts, rather than any kind of balance. Chaparral landscapes might have a prototype look and feel, but they are also built to burn every couple decades, after which they spend a year or two looking apocalyptic. 

It is around this decadal return period that poses problems to civilization, because it's a timescale that humans don't seem to plan very intelligently for. Yearly is easy to remember (birthdays, seasons, holidays); to remember a once-every-20-years event becomes a task of generational or institutional knowledge. Consider: a huge flood happens, and people retreat from the river for a few years. Then we think, why retreat? The land is fertile and water is close-by if we live near the river. But the flood will come again, and some octogenarian in the back of the room will be yelling that they told us so. 

There is a sort of fat tail, or "kurtosis" risk to humans lurking in any kind of landscape prone to sudden, rare, and dramatic events, like storms, fires, earthquakes, and floods; a complacency to the recurrent, but forgettably uncommon, disaster. For its relevance to water and the built environment, I find flooding the most interesting of these. My fascination lies interlinked with the time I spent living just blocks from where the Arroyo Seco meets the Los Angeles River in Northeast Los Angeles.

The Arroyo Seco and LA River are both channelized where they meet, which means that they have been paved over in concrete. In how I've learned to use the term "the wash," it's always in reference to one that's been paved over. Paving does a few things to the river: it fixes its geometry, preventing the river from moving across property lines and flood zones; it also makes the surface of the riverbed smoother, allowing the water to move faster. By accelerating the flow, the channel can carry more water and prevent nearby areas from flooding during heavy rains. 

Channelization is (generally) a great flood-prevention strategy, but it has downsides. The concrete disconnects the river flow from its bed, preventing any of the river water from sinking into the aquifer beneath it; similarly, it prevents the river from depositing (or eroding) any sediment on the bed; these combined effects dramatically affect the physical and ecological processes in the riparian area. Accelerating the flow, and preventing any exchange between the water and the landscape brings a torrent of dirty water downstream. In Los Angeles, this all ultimately flows out to the ocean at Long Beach, and is the reason why LA-area surfers know not to go for an ocean dip within a couple days of a rain. The Tijuana River, along with most streams in Southern California, is also channelized, but it empties out into a "natural" green wetland area before it reaches the ocean: the fast-moving water from the channelized portion has the potential to rapidly erode the wetland, and dump all of the contaminants that it has collected on its route to its destination. 

Despite channelization, life finds a way. And people do, too—the Los Angeles River is, perhaps, the most celebrated (in the sense of celebrity) flood control infrastructure on the planet. The whole city needs the wash to keep its role as a flood control measure, but some want to see it work as park, a social focal point, an ecosystem, too. Some like it as it is. Water flows downstream and life seems to follow it. Jenny Odell writes: 
I realized why it was so hard to define what a creek is. It’s not only that in some places it feels indistinguishable from infrastructure. It’s that a creek is just one form of water that needs to go somewhere, and water always needs to go somewhere. 


I love the wash as it is, for all its flood-prevention utility; I hate the wash, for paving over tender soils; I love the wash, for its bizarre concrete shapes; I hate the wash, for causing us to lose so much of our precious water; I love the wash, for its drama and power in the arid landscape. We need to un-pave some of our urban environments, for the long-term sustainability of our groundwater and surface ecology, but the mythos of the wash will persist. The FOVICKS site states, "there simply is no going back to a dirt bottom river without removing the town around it."

Ian and I have been noodling on the architectural ramifications of water infrastructure for a little while, and the wash is a perfect candidate for further scrutiny. Is the wash conceptualized as a natural space? As infrastructural? (akin to a freeway overpass?) What else can it be? How do we experience its length and scale and variety?  How do we aestheticize its vast concrete expanses and careful geometry, with grasses yet poking through? How is its value—or "revitalization" used as a tool for real estate valuation? How does it work, by itself and with the rest of the territory around it? Is the wash always downstream or upstream of something else? I prefer to think it can be a site of its own. 

Intermittent,
Lukas
 
 
#55
March 15, 2020
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Gnamma #53 - Defining Infrastructure

Hi Folks, it has been a while. I probably do need to hold myself to one post per month! 

I'm in the meat of my Master's thesis, wrapping up the methodology and beginning to dive into the analysis and interpretation. I already wrote about what my thesis is, actually: seeing how ocean wind/swell/tide energy disperses through Tomales Bay. I'm interested in these processes out of sheer curiosity, but I am motivated to push on them because they are related to the resiliency of the landscape and the potential opportunities for habitat restoration along the shore. Highway 1 goes along the East side of the embayment, and Marin County is concerned for how erodible that shoreline is. Perhaps creating marsh habitat or installing oyster reefs can attenuate that erosion? Perhaps it can attenuate future flood risk? 

This kind of work is getting called "natural infrastructure"—recognizing that many natural processes achieve goals that humankind has often addressed with "hard" infrastructure. It can be a strategic tool to define the value of ecosystems in economic terms. I've most often seen the term applied to coastal erosion/flooding and watershed filtration. (e.g. the watersheds that serve most of NYC's municipal water are well-protected, allowing the soil to scrub the water as it moves through the watershed; this allows the city to worry less about expensive, intensive water treatment plants.)

"Infrastructure" is an expansive word. At first pass, what do you imagine? roads? rail lines? water treatment plants? landfills? power lines? potable water? what if we include local ports? cold-storage trucks? cellular networks? health care? housing? Do you consider flood control channels? sewers? catchment basins? In casual conversation, I find myself using "infrastructure" as a shortcut to say something along the lines of "systems that support some ongoing civilizational function." Infrastructure prototypically supports essential human services—perhaps things that allow people to live (and/or the economy to function). In a conversation with Pierie, we considered that "infrastructure is that which supports basic human needs" may be a useful description; that infrastructure should support food, water, shelter, health (sanitation), education, communication (and more...). In this sense, food deserts, lack of affordable housing, and subpar schools can be framed as infrastructural problems. I like this framing because a lot of prototypical "infrastructure" work falls on my field—Civil Engineering—but these are problems that won't be solved by "hard" engineering works (i.e. concrete and steel). They are complex social problems, and the engineer may likely not be the most qualified person in the room to steer the projects. This interview, with Dr Monica Smith, had a huge impact on framing this for me, some years ago. 

I went to a series of talks two weeks ago, and Caroline Chen said that "infrastructure is that which creates future conditions for construction," inasmuch as it "plugs" a parcel of space into the services that can make it useful, in an architectural sense. (A place for a building.) I think this line of thinking supports what most of us think too, that infrastructure is not an "individual" thing—you don't have "your" infrastructure: infrastructure is a tool for network service, a way to participate in a broader system. We typically assume that by participating in a network, we reap some benefits of a distributed system—that it will be resilient. We assume that by mass of collective buy-in, it will respond to collective needs (and possibly emergencies). We often assume that large scales for infrastructure permit efficiency and ease for the end-user, by becoming invisible (thanks Dan) and allowing the governance to be outsourced to a small, highly-informed group. (For better or for worse.) Obviously, there are exceptions of various scales. 

I feel I am outgrowing an old, more rigid sense of what infrastructure means, and am seeking to find the value in viewing other systems as "infrastructure" too. Intellectual infrastructure, perhaps? I do not want to stretch the term unnecessarily, but its use may help bring urgent and collective-minded thinking to a broader scope of topics. 

Serving,
Lukas
 

#54
February 17, 2020
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Gnamma #52 - A Year of The Newsletter

I'm happy to say, I made it through a calendar year of sending out Gnamma every week. Some posts weren't much—some links, some scrap paragraphs—but some I felt great about. 

Gnamma has been a terrific opportunity to practice turning a half-baked thought into a (semi-?)cogent line of thought, in short time. I hope to keep practicing such. It has also been an opportunity to refine some realms of ideas. My goal was to have some redundancy present—it usually takes me twice to learn anything—and I think biggest things I circled around were about landscape and human activity on it. About the falsity of the nature-culture dichotomy, about how expectations of a steady-state "nature" are fraught, about finding ways to play at the same pace as natural processes. And I hope to keep pushing here, either in my studies or in a job or just in sending off this damn newsletter, because I believe that to be responsible squatters on planet earth we need to find ways to work with nature, so that 21st century climate change can be accounted for just via "the hard way". 

I really, really enjoyed getting responses. Thank you if you ever responded!! It's nice to know there are people reading on the other end, and a way to keep in touch with people far away. 2019 has been a bit lonely at times (often self-imposed, I admit!) but an earnest reply is a reminder that I'm no island (just a peninsula, maybe). I've long had a bit of a divide between what I talk about in-person versus online (also self-imposed), and this barrier has eroded this year. Gnamma has been a place to bring a bit more of my day-to-day to the friends I keep in touch with via the internet. The majority of my internet feed content, aside from the relative uselessness of instagram, is other newsletters, and I like to think I've been able to contribute to the fun email newsletter landscape of 2019, chugging along together. 

I started this newsletter as the result of a New Year's resolution for 2019. I don't intend to keep up a weekly pace here in 2020, but I do want to keep writing regularly; if I really start to lose steam, I may need to hold myself to monthly writing. Every week can be a tough pace in an otherwise busy period of life, but it can also be clarifying, forcing my hand to sit still for a couple hours every weekend. 

Thanks for following along. 

Periodically,
Lukas
 
#53
December 28, 2019
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Gnamma #51 - Poetry Surf Club

Semester's over. The pressure cooker is off! I am trying to enjoy the terrific run of surf in CA right now before I go to the East Coast for a restorative two weeks of seeing friends. Maybe I can get some surf there, if there's a shop renting thick wetsuits...

Surfing is a joy. How many times do I need to say this? It's wonderful alone, it's wonderful with a group, it demands full attention and pushes the body to perform. I have put major stock in surfing as a place to play and feel a sense of progression in myself while my external validation systems have shifted, or been intentionally dismantled, in the past few years. I have realized that, if I want to surf as much as I would like to surf, I need to structurally re-organize my other commitments in life, and be willing to say no. Which is not my natural tendency. As such, surfing is a tool for me to practice focusing, in both short-term and long-term views. Focus is of utmost importance for me, right now, so I'm investing in keeping the hobby around.



I'm also wrapping up another PhD proposal. In some ways, I am writing it as an exercise in articulating some of the things I've written about in this newsletter, and pitching myself as the right person to develop the ideas. This seems valuable regardless of how I feel about PhDs (read: tepid); it's another act of focusing my energy into a particular direction. I'm trying to be very careful not to see the precision necessary in academic work as a limitation, but rather as an opportunity to put a series of carefully chosen words onto paper, with a more poetic sensibility. Logic, in the form espoused by the science community, is the performance of a line of thinking, and there is wide space around this straight line that allows me to bring in a wider scope of the things I care about (community learning spaces, physical fabrication, environmental anthropology, land art, etc). 

The details of a surf session are usually either blurry or inarticulable. (I have a pet theory that this is why surfing slang is so loose and silly—it's trying to describe a very strange, particular combination of conditions and feelings; it takes some dedication to articulate it well.) There's something about being in water, too: that immersive, all-body feeling that rinses the obligation of linear thought. I often think of an unassuming piece by Jenny Holzer in the permanent collection of the RISD Museum, a bronze plaque that reads "HIDE UNDERWATER OR ANYWHERE SO UNDISTURBED YOU FEEL THE JERK OF PLEASURE WHEN AN IDEA COMES". 

Submerged,
Lukas

 
#52
December 21, 2019
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Gnamma #50 - Restoration

The tone of last week's newsletter was a bit darker than I was aiming for. Roberto shared some valuable snippets in response, good things to keep in mind. 

I went to _another_ conference thing (it's been busy, this Fall) yesterday, the Gilbert Club. The Gilbert Club happens the Saturday after AGU's Fall Meeting, the largest earth science meeting in the world. It's a one-day shoestring operation and only vague agenda to give people a day to talk about geomorphology, which doesn't, perhaps, get as much attention as we'd like in the monster conference. 

I've found geomorphology lovely because it picks up on so many things I'm interested in. It's a field where various ideas can blend; synthesized understandings of geomorphic processes are a collection of geologic precedent, anthropogenic effects, and then a load of nuanced surface processes (that deal with hydrology, biology, and basic physics). Some of it can be approached through an analytical math lens (bringing back my love for partial differential equations), and some of it is purely observational. 

On Friday, I finished applying to a fellowship that would fund a PhD at Berkeley. The project is essentially "applied geomorphology"—I'm interested in using understandings of landscape-shaping processes to inform management and engineering work. The application was to get an understanding of sediment movement around the mouth of the Tijuana River Estuary; when the estuary gets plugged, the interior marsh water level rises and contaminants collect, driving local flood risk and killing fish.  I would help nail down what the main causes of this sediment build-up are, and how we could minimize it happening. 

This is the work that most excites me right now, if you can't already tell: the engineering, design, and science work that links human activity to processes that would be going on without us. 

A lot of what you might call this "applied geomorphology" has come out of the habitat restoration world, which has its strongest history in river restoration. This term, "restoration" came out of work done in the 80s when some of the benefits of natural systems became clear to the people who had previously paved or channelized rivers. Rivers began to get "daylighted" as we removed their bounding channels, and reconnected them to their floodplains. Rivers are amazing examples of self-organization, so in many instances, allowing the river to connect to its habitat—its sediment, local aquifers, debris, and ecosystems—is enough for it to return to functionality. 

But this language begs the question: return to what? An outdated ideal in restoration work (in America, at least) is to restore the river to what it might have looked like before European colonization. This idea brings with it The Pristine Myth and all its failures. Thankfully, increasingly, river "restoration" is about restoring process—allowing the processes that shape the system morphology and ecology to thrive. And sometimes this takes continued maintenance! 

Process-based restoration is, to me, a perfect example of applied geomorphology. Getting pervious pavers for your fucking driveway is an instance of applied geomorphology. The thing to focus on is allowing flows of energy in the landscape to connect in beneficial ways (whether upland erosion bringing sediment to  catchments or rain going into aquifers). The view of geomorphology that celebrates energy flows gets into exciting territory, a very information-theoretic view of the world. My friend DV introduced me to Bejan's Constructal Law, which I think applies to landscape processes across the board. 

There are ramifications everywhere. One of the most interesting, to me, lies in flood-control infrastructure. Arid California has done a lot of channelizing work, to deal with the rare but disastrous high-rain event. This is why the LA River is encased in concrete. I've already talked about how we can't "undo" Los Angeles, but I think that, with some geomorphologists, policy-makers, and engineers in the right room, we can build ideas about how to restore process while maintaining flood control benefits too. Some of those ideas, before they enter a gleaming room in downtown LA, might come from a pizza-fueled illegitimate conference with a bunch of nerds who like sediment. 

Reconnecting,
Lukas
#51
December 15, 2019
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Gnamma #49 - Doing Local Work

When I graduated from college, most of my friends were in the arts or tech and tech-adjacent fields. My peers—upper-class, per the typical ivy league demographic—are extremely mobile. (Perhaps destructively so.) Most have moved a couple times as their careers get moving, scooting between the metro areas that tend to hold the tech, design, and art jobs. 

One of my goals in going into environmental engineering was to do work deeply grounded in the specific geographic conditions of the place of the work, to avoid becoming a yuppie bouncing between metropolises without getting deeply invested in them, uninvolved in local and community-driven work. 

But over the past decade this is exactly what I've been. I went from metro Detroit to metro Chicago to Providence (metro Boston?) to Los Angeles to the Bay Area, with stints in New York City. I suspect I'm looking for rootedness precisely because I haven't had it. I want to "Find a place [I] trust, and then try trusting it for awhile." 

My response to this has been that there are really only two career paths I think about: as an environmental engineer/scientist, or as a teacher, because they are precisely roles that cannot be done asynchronously, cannot be done remotely, and cannot be abstracted too far without losing their value. Something directly tangible. 

I went to the Storms, Flooding, & Sea Level Defense Conference this week in Oakland. The great part of the work discussed, the worst part of it, too, is that it is extremely hard to generalize. Every city is different, every port is different, every place is different—so we can learn lessons from our neighbors but not apply the same logic. There is so much work to do, first in understanding these hyper-local systems, and then acting on that understanding! 

(As an aside... many of the proposed policy actions for addressing SLR at the conference were, essentially, "waiting for the numbers" and waiting until we have high levels of confidence in our climate models, so as to not over-invest in infrastructure. I understand the political need to avoid setting aside too much money for hypothetical scenarios, but we know plenty to take action anyway. One speaker called this out, and encouraged people to make "tipping point plans," which outline actions taken at different levels of SLR as they come, per a Dutch approach, rather than waiting for far-off benchmarks. I recognize the limits and colonialism present in applying Dutch strategies, but also want to respect their cohesive approaches!)

If you have anxiety around "not doing anything" about climate change and have the ability to afford altering your career path, please do so, there are so many opportunities. Think hard about your communities' needs or things like the list of Sustainable Development Goals, and choose a problem (and place?) to work deeply on. I don't yet know yet where my next move will bring me, but I hope it's the last one for some time.

Rooting,
Lukas
#50
December 6, 2019
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Gnamma #48 - Falsity of Line

I'm working on two research projects this Fall. I already wrote about one of them, now I'll say a bit about the other. 

Following-up on my summer work with the USGS, I'm looking for trends in physical properties of the sediment at the bottom of San Francisco Bay. Trends in time, space, and depth below the "sediment-water interface." The first two are straightforward; it's the latter I want to note right now. 

The conceptual model is that there is a line you can draw between sediment at the bottom of the Bay and the water that comprises the Bay. When we take a sediment core (see photo), we start at this line and then take sections from various depths in the sediment column. 


A complication in our sampling strategy is that this concept of a clean sediment-water interface is false. The sediments in the bay are all very fine, mostly mud and silt. These are easily picked up by the water, and in certain conditions, they can take a long time to fall back to the bottom. This means that, close to the sediment bed, there is a high concentration of sediment in the water, and the top layer of sediment is very "fluffy". The boundary between the water and sediment is more a gradient, from water, to sediment-rich water, to water-rich sediment, to sediment. 

When we scoop up a sample, we often drain water from the core. Ideally, perhaps, we could drain water from the bottom so that any sediment in the water would fall on to the top of the sediment—this collapses some of the gradient zone but keeps all of the sediment present. On a boat and in a hurry, however, it is much easier to drain from the top, which ends up  removing some of the fluffiest sediment in this gradient zone. This isn't a grave issue—we are aware of the limitations of our technique—but we are losing some of our most interesting information. 

This is a microcosm of an issue that has much bigger ramifications. In low-lying areas, a similar question arises: where do you choose to draw the line between water and land? This becomes a question of political territory, a question of engineering, a question of power. Here's an example from Southern Louisiana, below. The difference between solid ground and water is not so much a firm line, but a threshold that we choose to draw somewhere. 



Not one thing but a gradient,
Lukas
#49
November 29, 2019
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