environment/nature

The clip below is the trailer for a movie, The Code of the West: Alive and Well in Wyoming, that appears to be part documentary, part travel/tourism advertising, and part morality play. It emphasizes the moral superiority of a simple, truly “American” life lived in the great outdoors:

The clip is a great example of the way we socially construct both places and times.  Wyoming, a stand in here for “The Old West,” is mythologized as a place where people haven’t changed much.  Just as they were in the old days, they are steadfast, hard-working, and follow an impeccable honor code.

This isn’t to say that there aren’t great people in Wyoming, but it’s always wrong to say that something is always true (see what I did there?).  Further, today it is likely that many people work indoors in blue and white collar jobs and have little time to soak in the big sky that supposedly inspires such wholehearted goodness.  But the “idea” of Wyoming nonetheless privileges the cowboys (however many are left) over the office jocks.

Further, as Rachel at The Feminist Agenda writes “omit[s] a huge chunk of history”:

In cowboy country, there was one group of people with whom we never honored our word or felt bound by a firm handshake. If your skin was brown, all bets were off. We would make agreements with you, sealed by a handshake and a written contract, which we would disregard the minute it became convenient for us. Our word was worthless if your skin was brown and your culture didn’t look like ours.

Of course Rachel makes the same mistake here that the film makes:  There were (white) cowboys who would honor a handshaking with an American Indian.  We shouldn’t demonize the past/a people any more than should romanticize it/them.  Still, Rachel’s point stands: in the big scheme of things, the new Americans were not honorable by any measure.

The fact that the romanticization of The Old West wins out over its demonization is part of the larger revisionist history that the United States encourages (in school, in politics, and in popular culture).  There is what power looks like: to the victors go control over the narrative.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

American school children learn all about the U.S. gold rush in the Western part of the country. Goldmining was a speculative, but potentially highly rewarding endeavor and attracted, almost exclusively, adult men. But the entrepreneurship of gold mining (though not mining as wage work) is long gone in the U.S.  Still, gold is in high demand:  “The price of gold, which stood at $271 an ounce on September 10, 2001, hit $1,023 in March 2008, and it may surpass that threshold again” (source).  Who are the gold entrepreneurs today?  Where?  Under what economic conditions do they work?  And with what environmental impact?

I found hints to answers in a recent Boston.com slide show and a National Geographic article (thanks to Allison for her tip in the comments).  While there is still some gold mining in the U.S., there is gold mining, also, in developing countries and all kinds of people participate:

According to the United Nations Industrial Development Organization (UNIDO), there are between 10 million and 15 million so-called artisanal miners around the world, from Mongolia to Brazil. Employing crude methods that have hardly changed in centuries, they produce about 25 percent of the world’s gold and support a total of 100 million people…

Environmentally, gold is especially destructive.  The ratio of gold to earth moved is larger than in any other mining endeavor.

It makes me rethink whether I really want to buy gold (because, you know, I do that constantly, darling, constantly).  In fact, jewelry accounts for two-thirds of the demand.  In the comments, HP reminds me:

Gold (along with even more problematic metals) is found in pretty much all consumer electronics. It’s in your computer, your cellphone, your .mp3 player, your TV/stereo, etc. You’re buying gold all the time already, whether you know it or not.

UPDATE! A reader, Heather Leila, linked to a picture she took of gold prospecting in Suriname (at her own blog).  She writes:

The gold mines aren’t what you are thinking. They aren’t underground, you don’t carry a pick axe and a helmet. The garimpos are where the miners have dammed a creek and created large mud pits. The mud is pumped through a long pipe lined with mercury. The mercury attaches itself to the specks of gold and gets filtered out as the mud is poured into a different pit. The mercury is then burned off, while the gold remains. This is how it was explained to me. From the plane, they are exposed patches of yellow earth dotting the endless forest.

See also our posts on post-oil boom life and gorgeous photos of resource extraction by Edward Burtynsky.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

If you’re designing a cover for a book by a Chinese or Japanese writer, or with a Chinese or Japanese setting, it seems that there are some compulsory elements which must be included. For variety’s sake, there are four elements, but you MUST use at least one of them. Advanced designers, of course, may use two or more.

Element 1: Blossoms (preferably cherry, but anything red or pink will do)

Element 2: Fans (preferably held so as to partly obscure a woman’s face (or genitals), and if you can get blossoms on the fan, you get bonus points)

Element 3: Dragons (for use only on crime novels, or other exciting tales)

Element 4: Female Necks (preferably that of a geisha, but any female neck will do in a pinch)

For more on this trend, see this article from Hyphen Magazine, which features a brief interview with ace designer Henry Sene Yee. It was that article which also drew my attention to two covers featured above, those for On a Bed of Rice and The Street of a Thousand Blossoms.

(To be fair, I ought to note that several of these covers are actually very nice–it’s just that they lose rather a lot of their impact because of the familiarity of the elements used.)

James Morrison (jrsmorrison@yahoo.com.au) is a writer, editor and graphic designer who lives in Adelaide, Australia. He writes about book covers and book design at causticcovercritic.blogspot.com, and used to write about novellas at Book Slut.  He blogs at Caustic Cover Critic. Thanks to Lisabee for the hat tip.

I was stuck by this image, which is being used by Environmental Defense as part of a “how you can stop global warming”-type promotion:

We see a cartoon anthropomorphized earth flexing its muscles happily while a tape measure is cinched around its quite unnaturally narrow waist. It’s an interesting collision between the longstanding metaphor of environmentalism as seeking the “health” of the environment, with the modern idea of obesity as iconic of poor health.

Unpacking the idea of ecological “health” as the goal of environmentalism is something I’ll mostly set aside here, except to note that it is a non-inevitable conceptualization (contrast the alternate framing of conservation/sustainability). The important thing to keep in mind is that the idea of ecological health involves conceptualizing the ecosystem, or even the entire planet, as a mega-organism — and in particular, a mega-human-body — for which health consists of an approximation to a particular ideal state. For a human body, health by this conception involves having all the normal parts (2 legs, both eyes, smooth skin, etc) functioning in the normal way.

What caught my eye about the ED ad was the change in the representation of what constitutes “health.” A quick Google image search on “sick earth” brings up lots of examples of the old way of representing health. We get lots of earths suffering from common cold and flu type symptoms — flushed, sweating, excreting mucus, and making use of thermometers and hot water pads.

The archetype of ill health here is infectious disease, an invasion by microbes that upsets the system’s functioning. The metaphorical parallels between viruses and pollution (including, in some cases, human beings) have been powerful for environmentalism.

But over the past few decades, we’ve acquired a new archetype for poor health: obesity. Being fat has become synonymous with being sick, and vice-versa. What I’m interested in here is not the scientific/medical question of how bad for you being fat really is (though I’ll admit to skepticism of the obesity panic on these grounds), but rather the sociological question of how obesity became the key trope in our discourse about health. Thus, a healthy earth can be easily represented as one that has slimmed down, because we all know that getting skinnier equals getting healthier. The metaphor is extended in the “Low Carbon Diet Guide” that the ad encourages you to download, which talks about how “counting carbs” should apply to carbon dioxide as well as carbohydrates. Interestingly, the guide sticks to energy conservation tips, thus both continuing environmentalists’ reluctance to address food habits as a contributor to climate change while mercifully avoiding blaming fat people for causing global warming by stuffing their faces.

An important element to the conceptualization of obestity as the archetype of ill health is the way it’s tied to ideas of personal responsibility. While genetics and social conditions play a huge role in determining who gets fat, our discourse about obesity promotes the idea that on the one hand you can control your own weight, and on the other fat people can be blamed for their condition. This is reflected in the content of ED’s Low Carbon Diet brochure, which is is a fairly standard compendium of personal behavioral changes that will make you a better, less-carbon-emitting, metaphorically slimmer person. Obviously this sort of thinking long predates the ecological-health-as-thinness metaphor, but there’s a synergy between them in terms of the emphasis on the small scope of personal control within a larger issue.

This is not the first, or most extreme, time environmentalists have tried to link up with the concern over obesity. But it was striking to me that the thin = healthy idea is so engrained that it can be used as a metaphor by causes outside of the public health field.

Stentor Danielson is a professor of Geography at Slippery Rock University in Pennsylvania. His research focuses on the relationship between humans and their environment. Specifically, he’s interested in how people understand the risk of wildfires. You can read more from Stentor at his blog, Debitage.

I’ve got a special treat for you today: an interview with artist Nathan Meltz about his pieces on industrial food production. Nathan has shown his art in group shows around the country.  He received a Master’s degree in Art from the University of Wisconsin-Madison and is currently a graduate student at SUNY-Albany, where he will be graduating this spring with his MFA.  He lives in upstate New York with his wife, Abby Kinchy, and their infant son Aldo. His artistic and musical exploits can be followed at The House of Tomorrow.

I went to grad school with Abby, so that’s how I knew about Nathan’s work. As a sociologist who specialized in food issues and rural communities, I immediately loved these pieces and thought many of our readers would too, so I convinced Nathan to let me post an interview and some of my favorites. (And be forgiving of my amateurish interview questions. I am not a Creative Type, and my general reaction to art I like is “You made a pretty!”)

—————————-

Animal Farm

What drew you to the issue of food?

I have to give a lot of credit to Abby, who is a sociologist at the Rensselaer Polytechnic Institute, and has done a lot of research on controversies surrounding genetically-modified corn and canola. [She’s currently working on a book about conflicts over genetically modified crops in Canada and Mexico.–Gwen].  A lot of the themes in my art developed from kitchen-table discussions we had while in grad school in Madison.  What was technology doing to agriculture? And then, from my end, what would it look like?

How did you come up with the idea of representing food products as machines?

I wanted a visual metaphor that would reveal tech taking over plants and animals.  Unfortunately, our most current tech can be hard to visualize.  A series of ones and zeros?  Some sort of digital technology?  I decided to combine elements of Dada collage with early modernist German machine aesthetic [Oh, yes, the early modernist German machine aesthetic! Of course!–Gwen]  to create my own visual vocabulary. One that, while not exactly 21^st century, would act as a symbol of science and technology for the viewer/audience.

What does your Animal Farm series convey about our modern food system?

Waiting for My Mechanical Bull

Enviropig

In my machine world, animals are put on assembly lines, cramped together in feed lots, and, in the case of the chickens in The Chicken Coup animation, reside in an agricultural system designed by sadists.  They all look the same because there is no diversity on the factory farm.

The Chicken Coup, pt. 1

The Chicken Coup, pt. 2

Many people have at least some knowledge of slaughterhouses and the treatment of animals, so the Animal Farm series is probably fairly accessible. But O Canola! is, I think, more complex and harder to understand if you’ve never thought much about bioengineering before, or why the song “O Canada” would be particularly meaningful in the context of discussing canola and bioengineering.

O Canola!

O Canola! was a project long in the making, very much piggybacking on the research Abby was doing at the time. I try to tell the story of Canada’s GMO [genetically modified organism] canola contamination* in a visual form. The clever riffing on the Canadian National Anthem (which Abby thought of) is meant to reflect the nationalist tensions inherent in the controversy, where a hybrid plant created by the Canadian government during WWII to produce a mechanical lubricant at the local level would years later be threatened by GMOs produced by agribusiness.

What about Food for Fuel?

Food for Fuel

Food for Fuel came after news reports kept coming in about food shortages around the world, particularly in Mexico, because so much edible food was being turned into fuel for vehicles.  The message on this one is pretty straightforward.

Food for Fuel, along with Animal Farm, definitely reflects my interest in Agitprop.  At the time I made these, I was sharing a studio with printmaker/activist Josh MacPhee, a member of the Just Seeds print collective, which promotes socially activist printmaking.  A lot of the work he was doing really influenced me, and I think these two prints reflect my desire to have a clear social message.

How have people reacted to the series? Do you get a sense that people react more forcefully, or emotionally, to the ones about animals than the ones about crops?

Reaction has been positive, or at least the reaction I hear about.  A lot of the prints have traveled around in various shows.  I think the animation The Chicken Coup has maybe received a little more attention than the prints among the art audience.  Static prints on paper have a hard time competing with moving images with sound, music, etc.  And I don’t think people care any less about the crop-based works than the animal ones.  I find people who are really into food/agriculture issues care just as forcefully about what is happening to corn as they do cows.

—————————–

* GMO contamination occurs when genetically modified seeds migrate to fields that were not intentionally planted with them, an increasingly common occurrence. Aside from the problems this can cause farmers who want to sell their products as specifically not GMO, and concerns about the ecological effects that could occur if modified genes spread into other varieties (or even related wild species), it also puts farmers at legal risk. GMO crops such as marketed under the Roundup Ready label and engineered to be immune to the effects of Monsanto’s weedkiller Roundup, are patented. Farmers are not allowed to plant them without buying a license (including saving seeds from their own crop to plant the following year, a traditional practice of many farmers to eliminate the cost of buying seeds each year; so-called “terminator” varieties are even engineered to produce only sterile seeds, thus ensuring farmers must buy fertile seeds from the manufacturer annually). Monsanto has sued farmers for patent infringement in cases where a field was contaminated with Monsanto’s GMO seeds when they blew in from a neighboring field. Conversely, a group of Canadian organic farmers sued Monsanto on the grounds that genetic contamination had made it impossible for them to sell their products as organic.

If you’re interested in the topic, you might try to get a copy of Abby’s new article, “Anti-Genetic Engineering Activism and Scientized Politics in the Case of ‘Contaminated’ Mexican Maize,” Agriculture and Human Values.

Larry Harnisch of The Daily Mirror sent in this 1910 ad that suggests electric cars are appropriate for women because they’re clean, quiet, and easy to drive:

Also: Sarah Haskins on marketing cars to women, women choose Chryslers over men, Ford says cars liberate women, it’s ok if your wife wrecks your VW, break the glass ceiling with a Jeep, get revved up with a Cadillac, and the Dodge La Femme.

Robin H., Tomi L., and Kate McL. asked us to talk about the new movie, Avatar.   Tomi thought the gender politics were great, with men and women as equals fighting and ruling side-by-side.  I think she’s right.  It’s a great example of a cultural product that makes little of gender difference.  (UPDATE: Though commenters are disagreeing on this point quite insightfully.)

With that said, I want to comment on the race politics in the movie (I do so indebted to Annalee Newitz and Eric Repphun; you might also be interested in Meloukhia’s comments from a disability studies perspective).

First, a summary (super spoiler alert):

Avatar is a moral re-evaluation of colonization. In the movie, humans go about killing and displacing the indigenous population of another planet, the Na’vi, in order to extract a valuable mineral.

The Na’vi are a fantastical version of indigenous populations encountered by Europeans during colonization. They wear features, bones, and skins; they have a deep spirituality and a ritual-filled life; they are accomplished and principled warriors; they hunt and fight with bows and arrows; and they have an intense connection to nature (the end of the black braided ponytail of the Na’vi contains mysterious filaments that plug into the flora and fauna, allowing a sort of mind meld with the animals and the planet). They are, in short, the stereotypical “noble savage.”

In the movie, humans use technology to transport their consciousnesses into home-grown native bodies.

A character, Jake Sully, and his avatar:

They use these bodies to infiltrate and befriend the Na’vi, all with the intention of furthering the goals of mineral extraction.  Through our hero, Sully, we discover the moral superiority of the Na’vi people.  His own exceptional nature is also revealed.

Sully being blessed by the Goddess, a sign that the Na’vi should accept him:

Later, the chief’s daughter falls in love with him.

The anthropological effort to convince the Na’vi to give up their land fails and so the humans decide to take the land by force, wantonly destroying their home and killing any Na’vi that get in the way. A handful of humans, led now by Sully, defect and join the Na’vi.  During the battle, both the chief and the rightful inheritor of the role die.  After they win the battle, Sully assumes the role of chief, with the highest ranking female at his side.

In the end, Sully abandons his (disabled) human body and the Goddess transfers his consciousness into his avatar body. He has, literally, “gone native.”

Now, to the commentary:

Avatar is a fantasy in which the history of colonization is rewritten, but it a fantasy specifically for white people living with a heavy dose of liberal guilt. And it is one that, ultimately, marginalizes indigenous peoples and affirms white supremacy.

If it were a fantasy for, say, the American Indian population in the U.S., the story might go a little differently. In that fantasy there would be no Sully character. It’s that simple.

The Sully character is white redemption embodied; he “…is liberal guilt made flesh.”  His character redeems the human race (i.e., people of European descent) by proving that at least some of us (guilty liberals) are good. Whites can identify with Sully instead of the humans who orchestrate the genocide and displacement.

But Sully is not only a superior human being, he is also a superior Na’vi. After being briefly ostracized for his participation in the land grab, he tames the most violent creature in the sky, thereby proving himself to be the highest quality warrior imaginable per the Na’vi mythology.  He gives them hope, works out their strategy, and is their most-valuable-weapon in the war. In the end, with all Na’vi contenders for leadership conveniently dead, he assumes the role of chief… and gets the-most-valuable-girl for good measure. Throngs of Na’vi bow to him.

As Annalee Newitz summarized in her excellent commentary:

This is a classic scenario you’ve seen in non-scifi epics from Dances With Wolves to The Last Samurai, where a white guy manages to get himself accepted into a closed society of people of color and eventually becomes its most awesome member.

I’m going to speculate that, if this were a fantasy written for a colonized population, the hero would come from their own ranks and, at the end of the movie, they would continue life on their land, with their culture intact, under Na’vi leadership, without a human in sight.

But that would be a movie that alienated the colonizer. And since history is written, and rewritten, by the victor, Avatar is what we get.

And it is a safe fantasy because the fight is over. During most of the encounter between Europeans and the indigenous populations in the Americas, stereotypes were cruel and dehumanizing. The “noble savage” stereotype that we are familiar with emerged only after the threat of American Indian resistance was long gone. We re-cast our enemy in romantic terms only after we won the war. How nice for us. It turns out our foe was a worthy one, making us look all the more impressive for being the victor. We can now pretend that we had deep respect for them all along.

Europeans can enjoy Avatar precisely because there is no risk to admitting that colonization was wrong. We can wallow in guilt about it and, still, the likelihood that power dynamics will be reconfigured in any meaningful way is just about zero.

(Images borrowed from here, here, and here.)

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Judy Z. H. sent in Kanye’s video for Love Lockdown for analysis.  My first thought was: they should have just went with Qwest Crew. But I digress.

The video contrasts Kanye, singing in a nearly empty apartment, with tribal imagery.

Here’s my thoughts:  The song is about a man who loves a woman but knows intellectually that the relationship is wrong.  So he has to leave her, even as his heart breaks to do it.  So the song is about a conflict between his heart and his mind or, alternatively, passion and rationality.

The passion/rationality binary is often layered onto a primitive/modern binary.  Primitives, we presume, are superstitious, driven by passions, more instinctual than intellectual, more closely connected to animals and nature more generally.  Moderns, by contrast, are assumed to be rational, in control of our emotions; modernity has brought us science and technology and taken us farther away from nature.

Accordingly, the primitives in the video express strong emotions and are dressed in skins and feathers, decorated with the earth, while Kanye calmly sings about a heart-wrenching decision, surrounded by a clean, white, even sterile, apartment, and lounging in the kitchen (the most technological room in the house); the only item other than furniture that we see is a telescope.  A telescope!  How very modern.

The video works because Kanye’s audience recognizes the modern/primitive binary and all that it implies.  But, of course, it’s false.   Psychological research (and, as far as I can tell, all of the research on voting behavior) demonstrates again and again that rationality is not our strong point as a species.  If anything, what is modern is the inferring of rationality (hello rational choice theorists!), something that we see clearly in this video.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.