text:
Edie Fake: I think a couple of things happen in a couple of different ways. First off, drawing a tattoo for someone is sort of like finding the perfect gift for someone you barely know. Part of a perfect gift is that it is entirely wanted and sort of surprising and I think it also has to have a little personal flair, some indication of who the giver is and why they would choose to give such a thing. So just the drawing/planning itself is already a lot more collaborative than just thinking about what you'd draw on your own. Then, you start tattooing someone and it's a whole other thing. It's a blood ritual and it's craftsmanship and it's fun and painful and casual too. I was only tattooing for a couple of years, but when I was working on someone there was this whole new process of understanding each line drawn, and also an understanding of why this tattoo was going to fit the person getting it. I think I was looking at the stuff I was tattooing like it was different sorts of heraldry. The person wearing the tattoo is a huge part of what the drawing becomes, both physically and energetically. That's the biggest difference throughout the process. With drawings on paper I usually am pushing out a drawing with my own vision, and then it can have a really singular presentation. Tattoos temper your own version of how things should be with someone else's ideas and I really love it because it can really push the way you draw into some strange places trying to figure out the common ground where "what someone wants" meets "what you want to give to them." I'm not tattooing now, but I miss it a lot and I miss the way it pushed my drawings. I'm starting to casually put my feelers out for another apprenticeship here in Chicago.
EF:Â I'm not sure if my thoughts are organized enough to bring up anything worthy of being a philosophy! I do identify as a transsexual and I do think a lot about the expansiveness of language, the importance of self-definition and how that all relates to complicating gender and sexuality. Collapsing and expanding meaning of words and images can work towards a wild and playful vision of sex positivity as well; that's what I strive for in drawings.
Multiple meanings are critical – I really think that's what keeps visual, verbal and physical language alive, the way that new interpretations will always be added to the heap. I make a lot of work based on innuendo and word play. Coded meanings and visual decadence can provide a place where drawings can snap into something that complicates gender and implies new systems. For me, it's impossible to articulate queerness in a direct and definitive way because it doesn't exist like that – it's much better pieced together through a drawing with many things happening, the interplay of different codes, sly language tricks, a collision of symbols, because all these things together gets more toward the idea of a border-less, boundless queer gestalt.
CP:Â Do you believe in a Utopia? (not necessarily something to implement, but something to work towards?)Â
EF: I don't believe in some true, universal, obtainable utopia, or any kind of unified vision for a utopia, at all. However, I have experienced periods in my life I would definitely call "utopic" where I've felt amazing energetic kinship to those around me, or even just to myself… I should add, these were not periods that were free of problems or hardships, but they were times of feeling deeply connected to what I was doing and how I was living. Constantly scheming and trying to help others with their schemes.
I think the world is shitty and hard, really lovely things always fall apart, pain, violence, heartache and futility reign supreme. Flying in the face of that, a utopia notion in my head can push me forward, and encourage me to try to create good energy and critical work. Utopia as a constant push to conjure up how things could be better, and then the working your ideas into realities.
CP:Â In some way I was thinking about the utopia question because of the on-line project A Gay Utopia. I was wondering if you could talk a little about that–how did the project get started? What was it like developing work for an on-line and shared context?
EF: Before the Gay Utopia Online Symposium, I felt like the term was floating in the air a lot, especially the air over Chicago. In my experience, it was being used as sort of a rallying cry, to envision working for each other, creating networks, sharing resources, and helping each other build the things we wanted to see in the world. When I went on tour with Lee Relvas in 2006 she delivered this brilliant soapbox speech as part of our performance that culminated with asking the audience "Are you ready for a Gay Utopia?" Well, the answer to that was yes.
I'm unsure of how the Online Symposium started, but that project was the brainchild of Noah Berlatsky and Bert Stabler. It's a wild grouping of folks that they brought together, and I'm really proud of the work I did for the project. There's a wide range of how people approached the work there, and I think I approached it as someone who feels like "Gay Utopia" is a concept that nourishes me and is integral to how I see the cycles of my life tumble out. The Gay Utopia shares a lot with the Temporary Autonomous Zone and I am really invested in both of those, so I wanted to create a comic that reflected falling down that rabbit hole. When I settled on a long scroll down drawing, I also decided that the most important thing for me to show in the images was the close combination of destruction and ecstasy, love and fury going hand-in-hand, fueling each other. That's a big part of my lived experience.
CP:Â I was thinking about tattooing again, and your description of its gift-quality. It made me think too about how you describe community and connectedness as being somehow central to those moments of utopic experience. In many cultures, it feels like tattoos have ritualistic significance–it's a sign given at the coming of age, for instance, or after some epic experience. I was wondering if you feel like tattoos have a ritualistic resonance in your experience and what that might be?Â
CP: I was also reading that you do some performance work as well–can you talk a little bit about that? And maybe what it is like to physically embody something, (vs. describing it 2-dimensionally).
EF:Â I do occasionally do performance work. To me it seems much more like conducting a public experiment, whereas displaying a finished drawing is like showing off the answer to a long series of problems. Performances are so dependent on your openness and the openness of the audience and they hinge on both the clarity of your purpose and also your ability to convey that purpose in a non-didactic way. It's usually a medium I use when I have a cluster of ideas floating around my head. To perform effectively – it is so hard! For me, performing is maybe the hardest, so I try to listen to my heart about it and know when I've got something cooking, and if I'm not really feeling it knowing to throw in the towel and forget it, I'll just do some drawings, which I always have ideas and methods for.
Go here for more glimpses of Edie's work.
Hui-min Tsen: Building the boat was an unexpected experience for me — it was not something I ever thought I would do. When Jim and I first started collaborating, I had been working with ideas of urban exploration where I was exploring the city (calling it an expedition) and referencing explorers of the past. Jim had been dreaming about building a boat and the initial plan was that he would build the boat, I would lead in sailing it, and we would collaborate on all the side projects. As the project progressed, though, it became evident that one person couldn't build a boat alone and that we were collaborating fully on every aspect of the project — it no longer made sense to divvy up tasks to one person or the other. I did not have a lot of previous woodworking experience, so a lot of what I was working on, especially at first, was the less intricate work like cutting pieces to size, planing down wood, routing. A lot of the building process was new to both of us, though, so we worked together on testing the epoxy, figuring out how to read the plans, and eventually developed our own working methods and rhythms in the shop for techniques like getting all the screws in before the epoxy set, etc.  To be honest, I often had mixed feelings about the amount of time and labor building took — it's not the kind of work I naturally decide to do — but at the end of the day, I was always so proud and happy with the results and the experience of learning, that I was really glad to be there. I especially enjoyed it when I had my own tasks to figure out, like making the mast, boom, and gaff, the centerboard and rudder. So much of the project wound up being about the everyday act of learning and discovery and building the boat was at the crux of that discovery.
We always thought of the boat as both a functioning boat that we would sail and as an art object. It first and foremost had to float and handle well, but we also thought a lot about the conceptual tie-ins of the materials we were using, the act of making and documenting the construction, and how the boat would live when we were finished with it. Normally I tend to have a casual relationship with the craft of an object — I come from a photography background so the craft of the image has always been important, but the creation of a sculptural object was something new to me. Since the object was a functioning boat, the building and documentation of it was still very oriented around process and not just about the beauty of the final object.
In terms of working independently versus working with a partner, they are both methods I enjoy. I very much enjoy collaborating, whether it's with other artists or making work that relies on an interaction with the public in order to take form. Jim and I would often talk about how we wound up doing things collaboratively that individually we would never think of doing and how much stronger the project was for that. Having such a long a involved collaboration pushed me as an artist in directions I wouldn't have been comfortable with or thought of alone. When you have to work through ideas with someone else, you are forced to explain them far more precisely than you might be persuaded to do for yourself. Jim and I had very similar philosophies about art-making and how to exist within the art world.
There are times, though, when you really want to just dive into your own quirky interests. A project like the Pedway which very much followed my own train of thought, would have been difficult or impossible in a collaboration.
CP:Â What made you consider the Pedway as a site of artistic exploration? And how did you come to make the Pedway tour?Â
HMT: When I first came across the Pedway, I had been working on urban spaces and the mental constructions surrounding them such as fear, attachment and belonging. These projects often involved mapping and walks — but I kept searching for the perfect vehicle to work with. One of the things that had first attracted me to Chicago was its role in the history of American industrialization and modernization — the tension of optimism and fear that came with the late 19th and early 20th century boom. In my mind, Chicago had come to symbolize the Mythic City, a site which, like the Mythic West, lives primarily in the imagination. I read all about visions of futuristic cities, urban planning, the history of Chicago, and fictional representations of cities from silent movies and novels. When I first moved here, I kept looking around for traces of that Mythic City.
When I stumbled across the Pedway, I saw in it my Atlantis — the elusive city born of fantasies. I began exploring it, looking for secret passages and connections and the possibilities of what lay at the other end. The more I explored it, the more I saw that it had a clear beginning, middle and end. After I walked through it for the first time, I loved the way the corridor unfolded so much I wanted to show it to everyone else! I knew that the temporal and spatial experience of transitioning through all these unique locations all strung together would never translate to a 2-dimensional piece and that the path was so difficult to navigate, there needed to be a guide to help other people through.
Since I had been working on projects involving mapping, story-telling, and walking, I had been looking at artists such as Stanley Brouwn, Emily Jacir, and Francis Alys, as well as photographers such as Sophie Calle and Joel Sternfeld's project "On this Site." Â These artists were influential in showing how action, text, and photograph could be used to address issues of site and memory. I had also looked at tropes from travel and tourism such as how guidebooks use points-of-interest to tell a story. Since the Pedway unfolds as one path, or line, in time, it seemed perfect for playing with how a story of history and place can unfold as a tour. I realized we are often led to experience a tour (even something as simple as a self-guided nature tour through a park) as if we are the protagonist walking through a 3-dimensional play where the land is the stage set and the points-of interest are the plot points. I used this idea of tour-as-narrative as the guiding principle when writing the Pedway tour. I tried to loosely construct it as a three-act play where the guide is the narrator, the Pedway is the protagonist, you are the main character, and historical figures such as Cosimo, Potter Palmer, and Clara Bow are the supporting characters.
CP: Didn't copyright issues play a role in your publicity materials? Can you talk about that?Â
HMT:  I'm not sure it is as formal as copyright; no one has used that exact word with me, but some businesses have definitely taken issue with my photographing and how I've referred to them in some of my materials. Understandably they want to have control over how they are portrayed. When I was doing research for the project, I purposefully avoided interviewing the businesses in the Pedway. First, I didn't want to be tied to their "official" histories and secondly, I didn't want them to know me — I wanted maintain the luxury anonymity while moving through the spaces — sitting and observing the comings and goings in hotel lobbies and such, without people asking me questions about what I was going to use my observations for and when they could see the results. I had horrible visions of asking permission, being turned down, and then being banned from one of the buildings! Once I put the project out in public, I knew it would be much harder to remain anonymous. If you're leading a group of 35 people through a lobby, security will notice you. Some business' took issue with my photographing and a few have approached me about content. For instance, the Renaissance Hotel was unhappy I referred to them by an incorrect name on the map and asked me to change it to the "Chicago Renaissance Hotel."  I had kept their name a little more generic to blur the line between the Renaissance and the original hotel, the Stouffer-Riviere, calling them the Stouffer Renaissance Hotel on the first iteration of the map. I decided not to test the copyright issue, and changed it on later maps as per their request. For a while I was nervous that I would have to either conform to all the corporate histories or start omitting points-of-interest.
On the flip side, an unexpected and exciting result of bringing the project into the public is how it has lived in the public imagination and how my interpretation is helping to define the space. There is not much information about the Pedway out there, so when doing an internet search, my website comes up pretty quickly.  Most of the hits I get are people looking for a map of the Pedway. I love the idea that people are walking around the Pedway holding maps pointing to the "Subterranean Parking Lot," "The Descent" and "The Garden of Merchandise."  I keep wondering how it comes across to them — do they wonder why the portion they are walking down is labeled "The Medici Corridor"?
One building caught on to what I was doing was using my tour on their website as a selling point for their building!  They thought it was good to be part of a mythologized space, saying I would lead them "through a historical dreamland unlike any you have imagined before."  Ironically, this was a building that had asked me not to photograph in it, so I don't really have them as a point-of-interest on the tour.
By choosing to make it a public art piece, chance encounters like these became possible.
CP:Â How has the Pedway Tour transformed your idea of public space?
HMT: As someone who enjoys using the world-at-large as a studio, wandering the streets and photographing, I have often encountered the tension that can exist between public and private, ownership and invasiveness. With the Pedway, I encountered some unexpected issues of public/private. It turns out most of the Pedway is not actually public space, it is private space. This can create weird questions about access. However, I think the fact that it is a private space is part of the fantasy of a hidden corridor — it is your secret corridor. If it were just like walking down a public street, it would not be as fun.
During the two miles, the Pedway moves through varying degrees of public/private spaces as it passes through food courts, office lobbies, government buildings, the subway… Once you've gotten used to being in the private space of a hotel lobby, moving to the very public space of a subway platform can feel jarring. As I began noticing these shifts of private and public within the enclosure, I wanted to include that feeling of passing from one to another as part of the story. I let the experience help guide the narrative. In the first stage, the privacy of the corridor can be equated with your ownership of the space — it is a regal, luxurious, safe home that is yours and you can go wherever you want. The second stage (part 1) is a sudden thrust into the public government buildings. You are no longer separated and removed from the street — you are mixed in with the hustle and bustle, which can be intimidating. There are crowds and security cameras and the buildings exert an oppressive power above you. You feel much smaller and the presence of an external power is much greater. Here the story leaves the early urban history of the first stage and introduces turn-of-the-century ideas of Utopian planning. In the second stage (part 2) you are still with all the crowds, but this is a friendlier urban culture — more glamorous, more leisurely. It is more about the pleasures of moving within a public crowd. You ride mass transit, go shopping for mass produced goods in the department store, and enjoy a huge old library in the Cultural Center (the People's Palace). The final stage, stage 3, is east of Michigan Avenue. This part of the city used to be a large railyard and was not developed until the 60s and 70s. I think of it as the suburban portion of the Pedway. There is a slight removal from the city, you are separated out again — it is clean, sanitized, comfortable and again you have a feeling of privacy, a feeling that no one will bother you as long as you behave according to code.
It is fun, while leading the tours, to watch other people encounter the surreal line between public and private that exists in the Pedway — many people ask me if we're really allowed to be there. At one very disoriented part of the tour, down near Point-of-Interest #13, I draw attention to the fact that, although we are surrounded by the grid aesthetic, the normal lines of public space and the squares of private space normally associated with the grid, are no longer present. This, I feel, is one of the things that makes the Pedway so fascinating.
CP: Can you talk a little bit more about how you weave history through your work?Â
HMT: For some reason I find this question difficult to answer. Although history is constantly a part of my work, I often think of it as secondary to themes of exploration, travel, and the idea of elsewhere. And yet I keep coming back to it as the context and framework for almost all of my projects. I guess, I think of it as a form of Elsewhere, of another place, intangible but ever present — a place that exists as a force on the imagination and our collective or individual sense of self. History has a real influence and impact on the present, and yet that impact is laced with projected ideals. Like many locations and cultures that are not physically located where we are located, history can be an origin — an often mythological origin to be revisited and played with. Coming from a multi-cultural family, I am used to looking for cultural origins and seeing, instead of one version, a plurality of versions. I think this has had a big influence on my outlook and can explain why I keep looking at how strains of history and experience can simultaneously layer on top of one another.
When I am working on a project, the research and project usually have a give and take. With the Pedway, I had already done a lot of research before discovering the Pedway. I then allowed the space to determine the rest of the research — looking up particular buildings or related topics like the history of the geodesic dome. Ultimately, what I choose to use is what I find intriguing and what excites my imagination. Some things you just keep returning to without quite knowing why. I guess if I really knew why it was so mysterious, I wouldn't have to make work about it!
CP: That makes me want to ask more about exploration. You've talked to me a little bit about a forthcoming project where you're documenting the lake over an extended period of time, and then drawing out ideas of geographical exploration. It seems to me that the Pedway tour is also about exploration, as is the Mt. Baldy expedition. How does exploration play out in your interests?
HMT:Â Yes, the project was for the show "Hecho en Casa/Home Made" at Cobalt Art Studio. Â The show was about acts of domesticity, localness, and home so I decided to take a trip at home, following in the footsteps of Alexander von Humboldt, an explorer I first came across while researching for the Mt. Baldy Expedition, but someone that we never used. I walked down to my local beach every day and looked out across the water, recording the weather conditions visible for as far as the eye could see. These observations were interwoven into a slideshow with the stories of Humboldt, Elisha Kent Kane, Margaret Fox, and the idea of north (the north pole and the northern islands of Lake Michigan).
I have always been attracted to photography's ability to aid in exploration and looking. As you point the camera at something, the picture is attaching you to the distant. My recent projects have become more focussed on the act of everyday exploration. As globalization increases and we have more and more mobility and immediate contact with distant places, the predominant everyday experience remains one of being in one place and looking outward from there. It makes me wonder about how other places and times impact what and how we see. What is just over the horizon? What is just beyond the visible? What mental constructions are layered onto the world around us? Exploration is synonymous with curiosity, learning, looking and discovery — a lot of my motivation with these projects is simple curiosity about what lies over there. It seems that even with new technologies and globalization allowing us to see around the world via webcam and satellite and to eat foods or watch tv shows from anywhere in the world, our relationship with the unknown and the distant will always be part of our experience of being located.
On the first floor of Chicago's MDWY Fair, Hui-min and James Barry installed the boat they'd made together for The Mt. Baldy Expedition. The boat was the result of seven years of collaborative work. It was the first time I saw it, though I remember numerous conversations with both Hui-min Tsen and James Barry over the course of its construction. Suddenly it was tangible, out of water, clean, complete and upright. It sat on a large stand in the sparse warehouse room under high-ceilings, its mast still tied up: the ceilings were not high enough.
On The Mt. Baldy Expedition  website, their statement of purpose is as follows:
The Mt. Baldy Expedition is a 21st century voyage of exploration. Inspired by predecessors such as Ferdinand Magellan and Enrique de Malacca, James Barry and Hui-min Tsen have begun a journey of quixotic proportions across the third largest lake of The Great Lakes. Over the course of 2004 to 2006, Mr. Barry and Ms. Tsen are building a sailing dinghy, sailing from Chicago, Illinois, to Mt. Baldy, a sand dune in the Indiana Dunes National Lakeshore– "the once largest live sand mountain in the world.†Mr. Barry and Ms. Tsen are also conducting a series of educational and performative events throughout 2004 to 2006 culminating in a traveling exhibit and lecture tour to share the findings of the Mt. Baldy Expedition with the world.
And suddenly the boat was real, placed not in a lake or a boat show, but in the middle of an art fair. The project began as a pipe-dream and from its inception, through a countless slog of hours, repetition, collaboration and patience, James and Hui-min managed to—actually—build a functioning boat. To me the project contains in it, the celebtration of amateurs (as lovers), visionaries, and pioneers: traits I see among artists' biggest contribution. Our world is increasingly and self-knowingly specialized. There are well-trodden roads that define the way things ought to be done. Houses are to be bought, not made. Roads are to be traveled on, not deviated from. Similarly, if you want to be published, you ought to find a publishing house. Under the eaves of those admittedly useful establishments, expectations are defined. It nevertheless useful to remember how things are built, in order to recall how we are in each capable of building our own worlds that can contain their own unique expectations and standards. At least in my artistic community, I am constantly aware of people creating for themselves, building their own communities around spaces and practices—even Bad at Sports, as a site of artistic writing, thought and discussion is a kind of self-generated and generating boat. Very often those projects begin with an amateur's spirit. The practice of research is integrated with the end result.
I wanted to ask James Barry and Hui-min about this project. This interview will take place in two parts. This first part focuses specifically on the boat and James Barry has answered my questions, about its inception and the course of the project. Next week, I'll post an interview with Hui-min that pulls back to more abstract questions of exploration.
Caroline Picard:Â How did the Mt. Baldy Expedition become a project?
James Barry: I started working on the Mt. Baldy expedition in the fall of '03. I was in my second year of grad school at SAIC. I had just finished a long term project that summer, and I was still casting around for something new to work on. I had wanted to make something that would fly and made a boomerang. It broke on the the third throw, but it did fly. I started working on a wearable theater, stuff like that, but nothing was really working. At the time I had lived in Chicago for about 7 years, and I didn't really get out of town very much. So I asked a friend and teacher of mine who rode the Metra where you could go on it. He gave me a bunch of suggestions. One of them was Mt. Baldy, and he told me a little about it and Michigan City. So one weekend I took the train there to see it.
When I got there, there were two train stops. I was trying to get off at the "downtown" by Mt. Baldy and the lake, but the first one seemed too small, so I waited for the second. Wrong choice. I ended up in some residential are. I walked for a couple of hours trying to get to the lake, but it didn't work. I was lost, and it was getting late. So I ate at a Mexican restaurant and decided to head back to Chicago. On my way to the train station I met up with two Michigan City juvenile delinquents who thought terrorizing a lost Chicagoan was the most entertaining thing to do that night. After about an hour and half of their unwanted company, I finally caught the train home.
Shortly after that I was out with Hui-min and some other friends from school. We were in a bar just joking around talking about projects etc. I told the story about trying to go to Mt. Baldy. At some point, I mentioned that it would be funny to build a little boat and sail it to Mt. Baldy and compare it to Shackleton and people like that. We all laughed, and Hui-min said she could sail it there.
I liked the idea and started to work on it and eventually went back to Michigan City. This time I got off at the correct station, and found a lot of information about the history Mt. Baldy/Hoosier Slide, Michigan City and their relationship to Chicago, tourism etc. at a little museum/historical society there. Everything just fell into place very easily, and it was really interesting to me. Ever since I had come to Chicago, I had missed the Northwest. (I'm originally from Seattle). This homesickness had translated into a little bit of an obsession about wooden boats and the history of exploration. Before studying art, I got an English degree. Reading and writing literary criticism for years had created a huge aversion to literature. For about six years I only read stuff about boats and history, preferably both. Hui-min and I were good friends and would talk about this stuff a lot. We had similar interests. After a couple of months, I asked her if she would like to collaborate on the project for real. She agreed, and we went from there.
CP:Â How long did you think it would take to build the boat?
JB: Before this project, I had only worked on two boats. One when I was a little kid with my Dad. My job was basically to hand him tools and name the boat. The second time I actually got a CAAP grant to go back to the Northwest and take a boat building workshop at the Northwest School of Wooden Boatbuilding. I had been doing a lot of work that investigated different sorts of social interactions. This was suppose to be research into a boat as a microcosmic social environment and to learn new craftsmanship skills. It was a lot of fun and very challenging. We actually built a Norse Faering in just 12 days. I had also been building case interiors, etc. for museums for quite a while, so I thought we could build the boat and sail it in about 6 months. Totally wrong! First off, we had never built a boat alone. We had also never built this boat. And I had never built a boat with a deck, which seems like a small thing but was a very educational experience for me. We had all sort issues too. Money was a big one. We wanted to build the best boat we could, so we bought the best materials we could, and it took time to earn that money. We also weren't making a sculpture of a boat, but a real boat, so we really made sure every thing was done right which takes time. And then we still had our lives, jobs etc. Hui-min was injured at home and had a long recover one year and then later had a prolonged illness. I had a job as an exhibition manager that basically took up all of my spring every year and about every 4 to 6 weeks I'd have at least a week that it prevented me from doing anything else. But we just kept working on it a little at a time. Knowing that someday we'd get there. It was difficult, but also fun.
CP:Â What is your impression of the boat as an object now?
JB:Â My short answer would be, "I see it as a boat." But I think it is important to realize that in this project we were always having to deal with two related issues. One, it's a conceptual art project where we play with things/terms from everyday life and history to try to communicate our experience and our take on the world. Two, we are building a boat, and our lives and the lives of anyone else who sails in it depend on this boat functioning. We were novices, but we were informed novices, so we were always very careful to take all the proper safety precautions, and when you think like this it is difficult to not think of it as primarily a boat.
Aside from that, the boat is something I care a great deal about. It was kind of amazing when we had almost finished the boat. We had started out with about 4 huge piles of wood that we built the shop and the boat out of. At the end when I was reorganizing the wood and sorting it looking for pieces for this and that section and thinking damn where did all that wood go and then realize it was sitting right there on the other side of the shop. I fitted almost every single piece of wood on that boat. There are stories about every part. To me that boat is very much alive.
CP:Â How does that compare with your experience of sitting in it, floating on the water?
JB: When we were putting the boat in the water, I was exhausted. I had quite my job two months before and had been doing nothing but working on the boat. The last two weeks in the shop were a madhouse, very long days, seven days a week. A lot of my former student workers from SAIC had been coming in to help out, my landlord, the neighbors in the building and even the neighbors next door. That was really cool. Most of these people had been hearing about the project for years. So when it came time to actually put it in the water, I was excited but also a little scared. We didn't have a trailer or anything like that. We had moved the boat to the harbor on my landlord's former county flatbed truck. It was old, yellow and had a big hazard light on top. The boat looked really interesting tied down to it driving down Roosevelt. We rolled it to the water and down the ramp on a make-shift furniture dolly. There was about six of us moving it including this guy who had just gotten off a boat and just thought wooden boats were cool. He had actually gone to the same wooden boat school I had. I think his name was Dav, not sure. He was a big help. He and a friend of mine from L&L Tavern, Neil, who also just happened to show up really helped us with getting the rigging right and transporting it from the truck to the water. So when we where going down the ramp, I was at the bow. I had the painter in one hand and a line attached to the dolly in the other. The boat kept getting lower and lower, and I was starting to get worried. It's only suppose to draw four inches of water. There were no waves, so it was hard to tell what was going on. Dav was at the stern, and he told Hui-min to get in it. She did, and I was like, "Oh no, has she bottomed out?" Then I realized Dav was in water up to his thighs. I pulled the dolly out and got in too. I was just amazed. She floated and wasn't taking on any water at all. It was a little late in the day, so we had to deal with a lot of drunk people on speed boats coming in. They were not very patient with us at first while we got our sails up and got ready to go, but then some of them asked us, if we had built it. When they found out we did, they stopped complaining.
Being on the water actually sailing after almost seven years of working on this project was just so cool. We weren't that good on the water, not embarrassing, but we definitely needed some work. We knew that this would be the only time we could sail her, so it was very exciting and fun but also sad. All I wanted to do was keep sailing her everyday.
CP:Â How did the dynamic of your partnership with Hui-Min develop over time?
JB:Â Hui-min and I were good friends. We were both just really into this subject, so it was very fun. In the beginning, we just worked on the project all the time. But collaborating is very similar to a relationship. The project started out as this very heady Romantic conceptual art piece, but then we had to deal with these very practical concerns, researching glues, paints, finding wood suppliers, creating budgets and "time lines." This stuff is all great and also very much informed our work, but you get a little bogged down, and after years of working on the same project, we both wanted to move on to something else. I think we both sort of out grew the project and artistically started to move in different directions. We are very close though. Making art together in a 100% collaborative relationship for 7 years, you get to know each other really well.
CP:Â Can you separate the boat from the way you two worked together?
JB:Â Yes, the boat was kind of the center piece to the MTBE, but it wasn't the only thing we worked on. We also did a lot of writing for text pieces and lectures/performances, shot and edited a lot of photo. Hui-min did a lot of illustration. There are actually a lot of projects that we had started for the MTBE but never finished and made public. I hope we will be able to publish some of this work on our blog, but we will have to just see what happens. We are both doing our own thing now and pretty busy. I'm sure some of it will come out eventually. Concerning the boat though, it is of course very important to both of us, as is the history of our collaboration and our friendship.
I met Peter Burr and Christopher Doulgeris for the first time about five or six years ago. "Hooliganship," the name of their performative duo, was on tour with the second issue of a DVD cartoon compilation called Cartune Xprez. They came to do a screening/performance at the old Green Lantern Gallery. Cartune Xprez is Peter Burr's curated compilation of independent, short animation—sometimes I think of it as an animated equivalent of an intensely gratifying literary magazine, or portable gallery exhibition. The biannual DVD is an event of imagination that colludes and clashes on the brink of psychedelic experience, precisely because it celebrates the idiosyncratic visions of its participants. As is often the case with non-commercial media, my appreciation for the project serves as both a reminder and a relief, reminding me that the larger behemoth of mainstream culture is not the only world of creative insight. When Hooliganship arrived, we set up couches for audience members while Peter and Christopher inflated neon crystals that glowed in the dark. We couldn't plug them all in, because we kept blowing the fuse. We projected the video on the street-side window, so pedestrians outside would have another experience in reverse. Christopher and Peter both wore tight fitting neon yellow sweat suits and when the screening began, they rose—aside from the crystals, the room was otherwise dark—playing instruments (a clarinet and a guitar). Meantime, these very idiosyncratic cartoons by various artists screened in the background. It's probably one of my favorite experiences from running a space. The habitat of the cartoon-world had been built out into our literal experience, lending additional form to the 2-d and sometimes crude projected imagery. As I said, that was years ago—at that time they were traveling with their first 2006 video. Since then Cartune Xprez has released two additional DVDs and, having recently seen the 2011 edition, I wanted to ask Peter Burr some questions about how he curates, what he loves about the project and how he situates his practice in relation to the more commercial television outlets we are accustomed to.
Caroline Picard: Where does your love for cartoons come from?
Peter Burr: I can't entirely say I LOVE cartoons across the board. I love the way an individual's spirit is captured when making a motion picture, especially an animated one. It takes such tenacity to produce anything of substance in cartoon form. There's this sweet spot for me where the cartoon balances the energy and ideas and images so casually and confidently that takes my cake. A large number of commercial productions and studio jobs lose my interest in the way things get overwrought. I think that's where CARTUNE XPREZ emerged for me…… as a platform to showcase those sweet spots in one place.
CP: It's interesting to me that you wouldn't boast an unequivocal love for cartoons given that you must dedicate so much time curating work for CX. Can you talk a little bit more about that sweet spot? Is it a sweet spot peculiar to the cartoon genre? And what do you mean by 'overwrought?'
PB: Perhaps on point, my day-job is making children's cartoons which, as I reread my last response (and your follow-up question), probably colors my approach to CARTUNE XPREZ. As with any medium, I believe, our ability to accept creative work with 'unequivocal love' is challenged when market forces dictate the decisions behind the practice. This feeds my desire to give life to CX, creating a platform outside the commercial industry that holds a space for ebullient animated spirits. There's a bravery behind a lot of the work CX shows that just doesn't exist in most main-stream cartoons I come across. I guess that's part of that sweet-spot you're asking about….bravery, independence, risk, failure. It's work that is not outright trying to appeal to a mass which in turn yields really strange, really personable results.
CP: Do you have a sense of the community of contemporary cartoonists?
PB: I can't keep up! Sometimes I feel like I could be surfing around the Internet 8 hours a day, 5 days a week and still never have a clear sense of what animation artists are out there. When I was in university back in the 90s I started to explore independent animation for the first time, searching blindly with vague keywords like 'animation + art' or 'cool + cartoon' and it ultimately just tired me of the web. Granted, I was learning how to use search engines for the first time and YouTube didn't exist, but still;Â in the course of that year I think I only ever found one artist (mumbleboy) who clicked into my sensibilities. In subsequent years of peeling my eyes for this kind of work I've found that most of the work that gets integrated into CX emerges when I go on tour and just talk to people. It's a lot more fun than sitting on my computer trolling the net, but of course it also keeps my vision somewhat limited to the countries/cultures I visit.
CP: What would you say your aesthetic is? (that thing you're looking for in independent cartoons) and how does it differ from your commercial work?
PB: That's a tough question! I can't really speak to a single aesthetic, but I can talk about some of the core values that we try to put forth with the project.
Let's see……the boundary for work that comes into the CX world outlines a quest for independent, mostly single-artist productions. This means that we exclude music videos and other types of work that could be construed as 'selling something.' Studio productions tend to get left out too, mostly because I find a special magic imbued in single-artist or small collective projects that comes from a tenacious, intuitive, working process. Rarely does work we show seem storyboarded or acutely planned (even though some of it, in fact, is). Takeshi Murata is a great example of this. Take a video like PINK DOT…… It comes across as a crazy compression error that coalesces around some striking images from Rambo. Of course, these aren't straight accidents, which becomes especially clear if you compare Takeshi's work from this period (2005-2008) with other datamosh videos on youtube. The means of representation here feel glued to the topical concerns. I suppose this is the 'aesthetic' CX gravitates towards.
Another great example of this can be found in the work of Bruce Bickford, an older gentleman whose work is mostly known from his days as Frank Zappa's in-house animator. Like Murata, his work is baffling on both technical and conceptual levels. I've watched some of his pieces hundreds of times and I still read new ideas in them each time I watch. Part of this comes from Bruce's utter dedication to his practice. He lives alone in a dreamy complex outside Seattle where his art practice is the focal point of everything including house chores. (There's a great doc called MONSTER ROAD that you can watch to see what I'm talking about). Anyway, it's this commitment to a practice that I really admire and like to put forth with CX.
CP: It's interesting to hear you talk about the way you research cartoons, the way you follow artists and their various practices. It seems like that must be an integral part to your administration-life with CX. What kind of other duties would you include in that? What does it take to put out one of your compilations?
PB: I think about my 'research' as a way to put framework between my consumer interests and my desire to produce.  Yesterday this meant watching a couple hours of cartoon network before and after Ben Jones' PROBLEM SOLVERZ to see what cable TV is nesting around some of the artists CX has affiliated with. Day-to-day, these research duties are a lot more casual (I haven't owned a TV in about a decade so it took some work to find a place to watch cable for a few hours). Thanks to the fact that I live in New York City, freestyle conversation with wonderful artists/critics/organizers is quick to come by. Going on tour provides a similar stimulation. One of my favorite research paths in recent times came when I was in Riga, Latvia with our FUTURE TELEVISION tour. I spent a week there after our show, which gave me time to learn about the cartoons my friends there grew up on. I was blown away by the trove of Soviet animation that had been produced in the 80s. For months afterwards I dug through Russian-language video databases, finding some gems like Captain Pronin and Pereval. This kind of exploratory work is so much fun!
The heavier administrative duties are a bore to talk about…… emailing venues, learning new video compression techniques, managing boxes of amaray-cased DVDs, etc. Its like an episode of "The Office†without the employees.
CP: What is your vision for CX? To me, it kind of seems like it's fulfilling itself as it is. I mean, I so love and enjoy each of the DVDs you've already put out, I'd be psyched if you just did that forever. That said, I can imagine you think about the project differently, or imagine moving in different directions, or presenting the work in different ways. Can you talk about that a bit?
I think my fundamental vision for this project has a lot to do with integrating youthful dreams with my adult experiences. This certainly IS fulfilling in itself! Its also really squirrely and challenging. The biennial compilations feel like a good way to bring some permanence to our activities and touring has been a sweet way to stir up the project's spirit (bringing new energy and voice). You're right, though….. in tandem with what we have now I DO envision the project working in different directions. I think about LIQUID TELEVISION, POSTERDISC, RAW MAGAZINE, CHOOSE-YOUR-OWN-ADVENTURE, THE EXPLODING PLASTIC INEVITABLE and still watering the plants at home.
Sean Di lanni: The Due Return is a massive, immersive, interactive installation which is fully navigable by visitors. Its namesake and central element is a 75 foot long, by 15 foot high, by 20 foot wide dimension hopping, time traveling ship. The ship has traveled through 31 different "eras†(or TD's) and now resides in an alien landscape on a foreign planet. The ship and it's current environment, which we call TD+31 is available for visitors to explore inside of The Center for Contemporary Art's 6000 Sq. Ft. Munoz Waxman Gallery here in Santa Fe through August 21st.   It was collaboratively produced by over 100 Artists and volunteers, both local and international.
Upon entering the Munoz Waxman Gallery, visitors are directed through a cave-like entryway and immediately confronted by the 15 ft. prow of the ship, upon which is mounted the figurehead, a fantastical winged mer-leopard named Freyja. Â The cave-like entryway is part of a system of cliffs made primarily from mud, which occupy the front wall and corner of the space. Â They contain rooms and tunnels filled with bizarre life-forms and provide the setting for some of the many theatrical performances that will take place throughout the run of the show.
The environment transitions as you move to the stern of the ship and becomes a forest of "glow trees†which are "speaking†to each other in a language of colored light.  Each tree actually produces colors that communicate with neighboring "trees†which in turn approximate those colors in their own vocabulary and pass them on to their neighbors
The ship itself contains  2500 Sq. Ft. split between a  lower deck and an upper deck.  The lower deck holds the Engine Room and Lab, 12 bunk spaces, Archive, and Garden.  The upper deck supports a Victorian style Lounge (with a piano!), a Control Room inside of a geodesic dome and a Spanish galleon style Captain's Quarters.  The aesthetic of these spaces, and the wooden hull of the ship itself, reflect it's non-linear voyage through time and space.
Each room of the ship is fully structural and can be explored by walking, climbing and crawling.  Navigating the architecture itself provides the most basic level of interactivity in the show,  but visitors are encouraged to engage in a variety of digital and narrative elements as well. The Control Room, for instance, features the NOMAD, or "Novelty Oriented Manual Automation Desk.†  From here visitors can affect video interfaces which monitor bizarre "levels†of activity within the ship and environment, including the activity of the light forest, emotional health indices, vortexial activity and so on.  NOMAD is also one of many places where visitors can actually control lights and sound in the ship and environment.  For instance, one interface contains a map of an extensive system of LED lights installed in the ceiling called "The Stahphield.†  By clicking on quadrants of the map visitors can affect the way the lights fade and twinkle in the Stahphield.
While NOMAD acts as the center of digital interactivity for the show, we've set up a number of alternative interfaces for this as well.  One of my favorites are these small "control boxes†set up around the environment and in the Captain's Quarters that affect the activity of the Glow Forest. They allow visitors to actually dial in a specific color, which is displayed back to them through a cool frosted acrylic surface. When you find a color you like, you "send†it to the trees, interrupting their conversation and interjecting your color into the forest.  Over the course of the show, these interjections are added to the color vocabulary of the forest.
We've also created an iPhone App called Elixir,  which provides another platform for these interactive elements.  Elixir contains programs that can  interject colors into the Light Forest and affect the Stahphield. It also serves as an access point to The Loci, the ships archive.  In addition to it's physical manifestation inside the ship, The Loci is a vast digital archive of the ships history told in passages from journals, audio recordings, images and entries by the fictional archivist, Teddy Hubbel (www.loci.theduereturn.com). Some of the material in the archive is also linked to QR Codes, which are scattered throughout the ship and can be accessed by most QR Code readers including the one in Elixir.
The narratives contained in the Archive are also made accessible to visitors through a series of "seemingly spontaneous†theatrical performances that happen on select weekend nights through the run of the show. On performance nights visitors are given schedules of key performances at the door.  In addition to these publicized performances, smaller vignettes occur in the form of crew interactions throughout the installation.
CP: You've used a vast array of materials in this project. While looking at the website, I even I noticed some computer architectural programs. Can you talk about how you were able to include so many material dimensions?
SDL: Most of the magic that happens in a Meow Wolf project happens as a result of the projects being as inclusive to as many forms of expression and materials as possible. Usually, the results of this inclusion surprise the people involved in the project as much as they surprise audiences. Including different types of artists and processes allows us to reach a  broader audience, simply because of the huge variety of stuff that any one project can contain. But "more stuff†is made much more interesting when it's combined under a semi-cohesive theme, idea, or at least space. That stuff starts conversing with itself. Every one of our projects deals with issues of cohesion and structure in different ways, and they all seem to be experiments in bringing together diverse people and materials to achieve something where the whole is greater than the sum of the parts.
So, for The Due Return, we set up a fair amount of structure and organization because we felt that we needed these things to achieve our very high ambitions. At the same time, we were  careful to keep in mind that whatever structure we created was intended to make space for expression and not to contain ambitions, or curtail visions. As I see it, these structures were set up to facilitate opportunities for artistic collaboration and experimentation.
With this in mind we broke the The Due Return down into sub-projects. There was a lot of interaction between sub-projects but each had internal organization and one, two or three point people, so that a system of communication was set up. These groups were as follows:  Ship, Archive, Tech, Environment and Performance.
At first we met as one large group, until we had a solid idea of what we were trying to do. Then the sub-groups really got going and started generating all kinds of plans and bringing in all kinds of people with different interests to work on the project. We'd meet up again as a whole group to get on the same page periodically. We set up deadlines for conceptual design and worked our way towards details, logistics, budgets and so on. Eventually these massive group meetings became less necessary and communication between groups just happened as needed. What was very helpful in all of this was the dedication of individuals. Some folks were involved in multiple aspects of the project, so they would be at meetings about Ship Design and also meetings about the Archive and so forth.
I was one of the point people for the Ship Design Group, and my role was to take everyone's ideas and form them into  workable architectural plans that had real structure and could be used to generate specific lists, budgets and schedules. We used all kinds of methods to get to this point, most of which were typical to any architectural design process. What was different was that none of us are professional architects, or designers really. We did consult with an architect to make sure we had all our structural calculations figured out, but I think the architecture and the project as a whole stands as an amazing testament to the power of dedicated amateurs.
In the Ship Group we made lots of hand drawings and culled images to move our process along. Â Once we had the basics I drew up the project in Google Sketchup, a very basic, intuitive 3-D modeling program. From there we actually made some 3-D physical models out of clay and paper so we could feel the thing in our hands. Eventually I decided we needed a more advanced 3-D digital modeling program to really hash out the curves of the ship and get specific about structural needs. So I began learning Rhinoceros 3-D. After a couple of weeks, I was lucky enough to find someone here who knew Rhino better than I did and she volunteered to take on the actual drafting. Â The program helped immensely with figuring out the curve of the hull. It allowed us to prefabricate sections before we had access to the gallery. We were even able to have the ribs for the bow of the ship cut by a CNC router using our CAD files. This saved us hours of tedious jigsawing and was a pretty magical process.
That's just a few examples of the types of digital and physical tools we used to complete the process from the Ship Design perspective. There was also a ton of amazing computer programming that went into the archive, lighting, sound and other technical aspects of the show.  The programming for the trees, for example, was done using Max MSP and a whole bunch of Arduino microcontrollers. The Stahphield also utilized Arduinos, along with some amazing curcuitry that we custom printed and hand assembled. I joked a lot about how we were making "fair trade, local, organic circuitry†for the project while we soldered away LED's for days on end in March.
As for the "stuff†we used to build The Due Return– dang!- there's such a variety of materials involved. The trees were made from this incredible biodegradable plastic called InstaMorph which you heat to mold into forms. The cliffs were made with a wooden framework, then wire mesh, and then tons of dirt mixed with straw and water to form cob. That process was incredibly labor intensive, and involved countless hours from scores of artists and volunteers. People were always doing "mud.† Some of the creatures we made were cast from rubbers and resins with little built in LED lights. The ship itself was made from a combination of scrap lumber from previous projects and new lumber (which we will re-use or pass on for re-use). We used a ton of stuff from dumpsters and random treasures from artists homes. The Black Hole in Los Alamos, an incredible second hand store for used lab equipment (mostly from LANL) donated and gave us great deals on a plethora of bizarre science equipment and weird plastics. Most of NOMAD and the lab was sourced from the Black Hole. We rented a bunch of beautiful 19th century furniture from the Santa Fe Opera (who were also incredibly generous) for the lounge. So, there's a combination of old and new materials. Where it was possible, we recycled things, but we also bought a fair amount of new stuff, all of which will be used again when we disassemble to show.
CP: Maybe following up on that last question, too, how did you go about constructing this narrative?
SDL: I passed this question along to Nicholas Chiarella, who headed up the Archive group, because i felt he could answer it best.
Nicholas Chiarella: The narrative of The Due Return was conceived at its start as an archive, a collection of information and artifacts that would have been gathered by the crew members of the ship over the course of its history—physical objects, written text, audio recordings, video clips, found items, created pieces. Meow Wolf has involvement from a number of writers, and having a narrative component allowed us to bring in a few more. We wanted to engage the audience in story and give them a chance to interact at a slow-paced, intimate level—to test out the way story can unfold within an art installation. We also wanted to enhance the sense that the ship had existed for a long time, that it had a lifespan of its own. A group of a dozen or so writers and artists sat down together with the initial concept of an interdimensional ship travelling time and space, and then they began to play with the idea of where the ship had previously gone, who the crew members were, what their interests were. Everyone in the archive group had a different approach, at first, some telling stories through letters or journal fragments, and others working through objects: maps, artifacts, photographs. The archive group met weekly in order to exchange ideas and weave stories together. From the start, the group knew it wanted a physical space on the ship to house and display the collection and a digital interface for sharing information at the show and off-site as well. The digital interface ended up being called the Loci (Latin for "placesâ€) in order to reflect the organization of the ship's history, which in part is structured by the places and times that the ship has visited.
The narrative is a strong backdrop, too, for the performances that happen on the ship. …
CP: Will you talk a little bit about Meow Wolf? When did the collective get started? I was looking through your flikr page and it looks like you've made habitats before, in addition to making music.
SDL: Meow Wolf was created in February of 2008 by a group of young residents hoping to supply Santa Fe with an alternative arts and music venue. The group has evolved into a central hub of cultural growth for a community that was previously without an outlet; using art installations and music shows as opportunities to form relationships, welcome newcomers to Santa Fe, and provide individuals with an open space to be expressive.
Bringing music to Santa Fe and supporting local music has been part of the goal with Meow Wolf from the start.  The installations arose out of an early art show that was primarily produced by two artists. It was called Meowzors and was kind of a painting installation in which every surface of the space was covered with imagery and objects. I think people got really excited about covering space and creating immersive environments from that show and we started on this now three-year tradition of doing installations as a central part of our process. The ideas for these shows are usually generated through a combination of single individuals ideas and a collaborative process of discussion. For whatever reason they often feature bizarre living spaces. The installation we did before The Due Return was a show called Habitats and the theme was living spaces.
I think, though, we are open to any kind of production. For instance, last winter we did this huge multimedia theater production called The Moon is to Live On which brought together more time-based and performing arts (like music and acting) with the creation of physical space. We also instigate a big public "performance†event called Monster Battle on the Santa Fe Plaza every summer.
CP: How do you think about sculpture and landscape? What is the role of the viewer in your environments?
SDL: That's a really interesting question to me.  Maybe "sculpture and landscape†is a more specific version of "sculpture and context,† or, even more broadly "object and space?† I, personally, am very excited by experiences that confuse and reorient our assumptions about what is an "object†(like furniture or sculpture) and what is "space†(like architecture and landscape). I love when an object suddenly becomes inhabitable (either physically or psychically) and a space suddenly becomes an object-like mass (like a boat sitting in a gallery).
I think installation or "environmental†art champions the interactions that happen between objects and people in a space. An installation is able to engage this wide range of sensory experience in the same way that walking into a building or tromping through a forest can. So, in a weird way, an installation can be accessible to a wider audience because it engages these basic spatial senses that we all take for granted on a daily basis.  It then has the power to subvert our spatial assumptions. I love when an art experience is simultaneously disorienting and familiar in this way.
With The Due Return visitors walk inside a gallery and are suddenly outside of a ship, and in a landscape.  Then they can go inside of that ship.  In that very basic way it breaks expectations. There's a line in one of the scripts for the performances in which a crew member of The Due Return is describing the process of walking out of the show into the real world of the CCA grounds. He says its like "outside of outside.†I love that.
With The Due Return the whole thing is highly produced and kind of controlled, I guess. I think it interacts with visitors like architecture does in that they are navigating it however they like, and it has a big impact on that navigation. But it then plays with how one can navigate literature and theater in a spatial way. So it ultimately gives power to the audience because of how many physical/psycholigical entry points there are.
CP: What is your background and how did you find yourself in Santa Fe? How would you compare your background to other members of Meow Wolf?
I grew up in New Jersey and went to art school at the Rhode Island School of Design for sculpture. Â I moved to Santa Fe after school almost 4 years ago because i had some family in New Mexico.
I'd say that maybe less than half of the people who worked on The Due Return have a similar background. Meow Wolf was started by folks who didn't go to college at all and who grew up in Santa Fe. For this project we worked with Dads, little kids, professionals, hobbyists, amateurs and students alike. Most of the people involved in Meow Wolf on a consistent basis hover around 20 something in age, but we are a diverse group and have no boundaries in terms of age, or educational background or anything like that. People have all kinds of different day jobs or lack thereof. So much of the value of this group comes from putting a huge amount of trust in people just because they are excited about doing stuff. I think we have a lot of faith in people.
CP: Can you talk about some of the programs that are going on during The Due Return?
SDL: The programming was conceived as an alternative to the talks, lectures and panels that happen around lots of other exhibitions. We wanted programming to be more geared toward building a youthful culture in Santa Fe and we wanted to have parties. So we booked a bunch of great music shows and have had DJ's and Dance Parties in the installation. The last dance party  was attended by a really diverse crowd. It was fully all ages, which was great. The installation itself has plenty of conceptual wiggle room, so it can become an awesome music venue and that just adds to the experience.
In addition to the music shows we're doing some more theatrical performances in the first two weekends in July. We'll also be doing an archive presentation this Saturday  which presents a fictional history of The Due Return. And, on Saturday, June 25th we're having a panel discussion with CCA and 516 Arts from Albuquerque, where we recently completed a satellite installation as part of their exhibition Worlds Outside This One.
So there's some of everything, but I think the programming reflects a larger statement about producing culture "on our terms,† reflecting the diverse interests of both the artists involved and the visitors who come to the show.
The Due Return is open to visitors until August 21st. For more information and to see a list of public programs, please visit their website.


text:
Interpreting Primary Sources
So lamentable was our scarcity that we were constrained to eat dogs, cats, rats, snakes, toadstools, horsehides, and what not. One man out of the misery he endured, killing his wife, powdered her up to eat her, for which he was burned. Many besides fed on the corpses of dead men, and one who had gotten insatiable out of custom to that food could not be restrained until such time as he was executed for it.
--Journals of the Virginia House of Burgesses, 1624, on life in Virginia during the Starving Times
Since I came out of the ship, I never ate anything but peas, and loblollie (that is water gruel) as for deer or venison I never saw any since I came into this land, there is indeed some fowl, but we are not allowed to go, and get it, but must work hard both early, and later for a mess of water gruel, and a mouthful of bread, and beef, a mouthful of bread for a penny loaf must serve for 4 men....
--Richard Frethorne, 1623
The first object which saluted my eyes when I arrived on the coast was the sea, and a slave ship which was then riding at anchor and waiting for its cargo. These filled me with astonishment, which was soon converted into terror when I was carried on board. I was immediately handled and tossed up to see if I were sound by some of the crew, and I was now persuaded that I had gotten into a world of bad spirits and that they were going to kill me. Their complexions too, differing so much from ours, their long hair and the language they spoke (which was very different from any I had ever heard) united to confirm me in this belief. Indeed such were the horrors of my views and fears at the moment that, if ten thousand worlds had been my own, I would have freely parted with them all to have exchanged my condition with that of the meanest slave in my own country. When I looked round the ship too and saw a large furnace or copper boiling and a multitude of black people of every description chained together, every one of their countenances expressing dejection and sorrow, I no longer doubted my fate; and quite overpowered with horror and anguish, I fell motionless on the deck and fainted....
I was not long suffered to indulge in my grief; I was soon put down under the decks, and there I received such a salutation in my nostrils as I had never experienced in my life; so that the loathesomeness of the stench and crowding together I became so sick and low that I was not able to eat, nor had I the least desire to taste anything. I now wished for the last friend, death, to relieve me; soon to my grief, two of the white men offered eatables, and on my refusing to eat, one of them held me fast by the hands and laid me across the windlass, and tied my feet while the other flogged me severely.
In a little time after, amongst the poor chained men I found some of my own nation which in a small degree gave ease to my mind. I inquired of these what was to be done with us; they gave us to understand we were to be carried to these white people's country to work for them....The white people looked and acted, as I thought, in so savage a manner; for I had never seen among my people such instances of brutal cruelty, and this not only shown toward us blacks but also to some of the whites themselves. One white man in particular I saw, when we were permitted to be on deck, flogged so unmercifully with a large rope near the foremast that he died in consequence of it; and they tossed him over the side as they would have done a brute....
--Olaudah Equiano, a slave, 1793
When the ships have for the last time weighed their anchors in England, the real misery begins with the long voyage. For from there the ships, unless they have good wind, must often sail eight, nine, ten or twelve weeks before they reach Philadelphia....But during the voyage there is on board these ships terrible misery, stench, fumes, horror, vomiting, many kinds of seasickness, fever, headache, heat, boils, constipation, scurvy, cancer, mouth rot, and the like, all of which come from old and sharply-salted food and meat, also from very bad and foul water, so that many die miserably....
Among the healthy, impatience sometimes grows so great and cruel that one curses the other, or himself and the day of his birth and sometimes come near killing each other....Few women who give birth to children on the ship escape with their lives and many a mother is cast into the water with her child as soon as she is dead. Children from one to seven years rarely survive the voyage; and many a time parents are compelled to see their children miserably suffer and die from hunger, thirst, and sickness and then see them cast into the water. I saw such misery in no less than thirty-two children in our ship, all of whom were thrown into the sea....
When the ships have landed at Philadelphia after their long voyage, no one is permitted to leave them except those who pay for their passage. The others, who cannot pay, must remain on board the ships till they are purchased and are released from the ships by their purchasers. The sick
always fare the worst, for the healthy are always preferred and purchased first; and so the sick and wretched must often remain on board in front of the city for two or three weeks, and frequently die....
The sale of human beings in the market on board the ship is carried on thus: Every day people come from the city of Philadelphia and other places and go on board the newly-arrived ship that has brought and offers passengers for sale....When they come to an agreement, adult persons usually bind themselves in writing to serve from 3-6 years according to their age and strength. But very young people, from ten to fifteen years, must serve till they are twenty-one years old.
Many parents must sell and trade away their children like so many head of cattle, for if their children take the debt upon themselves, the parents can leave the ship free and unrestrained but as the parents often do not know where and to what people their children are going it often happens
that such parents and children, after leaving the ship, do not see each other again for many years, perhaps no more in all their lives.
--Gottlieb Mittelberger, a German Redemptioner, 1750
Many of these slaves we transport from Guinea to America are prepossessed with the opinion that they are carried like sheep to the slaughter, and that Europeans are fond of their flesh; which notion so far prevails with some as to make them fall into a deep melancholy and despair, and to refuse all sustenance, tho' never so much compelled or even beaten to oblige them to take some nourishment....I have been necessitated sometimes to cause the teeth of these wretches to be broken, because they would not open their mouths, or be prevailed upon by any entreaties to feed themselves; and thus have forced some sustenance into their throats.
--John Barbot, 1682
Questions to think about:
1. Why do you think the Virginians were incapable of feeding themselves--when the Indians were able to grow corn, the woods were filled with game, and the rivers were covered with geese and filled with fish?
2. Why did these individuals migrated to the New World?
3. Describe their experiences in migrating to America.
4. What do these quotations tell us about colonial attitudes toward labor?
Starving times: Crude death rate first winter
Jamestown Plymouth
638 490 (per thousand)
In 1607, the Susan Constant discharged l05 passengers; six months later, two-thirds were dead. Between l607 and l624, 6,000-10,000 colonists arrived; but only l,275 remained alive.
Child Mortality in New England
180-200 of every l,000 died first year
35-40 percent failed to reach adulthood
Death rate for infants in Salem, Mass. (per thousand)
17th century 18th century
Girls 313 178
Boys 202 105
Causes of death in New England
Epidemic diseases--smallpox, diphtheria, pneumonia, measles, scarlet fever--killed 30 per l,000 during mid-l8th century; tuberculosis killed 20 percent
Comparative death rates
Jamestown, after l630 40-50 per thousand
French and English villages 40 per thousand
New England 24-26 per thousand
Maternal mortality
1.5-2 percent death rate per pregnancy
Average Life Expectancy at Age 20 During the Seventeenth Century
Married Women in Middlesex County, Virginia 39
Married Men in Middlesex County, Virginia 48
Women in Andover, Massachusetts 62
Men in Andover, Massachusetts 64
Women in Plymouth, Massachusetts 62
Men in Plymouth, Massachusetts 69
Growth of the Colonial Population
1640 26,634 26,037 596
1670 111,935 107,400 4,535
1700 250,888 223,071 27,817
1740 905,563 755,539 150,024
1770 2,148,076 1,688,254 459,822
Questions to think about:
1. How did life expectancy in the Northern and Chesapeake colonies compare? What implications might this have upon the nature of family life in the two regions?
2. What factors may have contributed to the discrepancy in life expectancy in the two regions?
3. Why might women have had a shorter life expectancy than men?
Declining Mortality, 1780-1820
1780 1820
Northern states
Total population 28 per thousand 20 per thousand
Infants 180-200 per thousand 140-160 per thousand
Population Statistics
Population growth rate 3.5 percent
Doubling time 20-25 years
Average number of children per family 7-8 surviving children
Marriage rate
New England in the early 18th century
men 98 percent
women 93 percent
women at end of the l8th century 78 percent
Average age of marriage for women
New England 20
Maryland 18
Declining Fertility
Proportion of families with 6 or more surviving children
pre-1700 75 percent
1700s 67
1800-30 40
1830-60 20
1860-1900 10
Questions to think about:
1. How does the growth of the colonial population compare to the growth of the American population today?
2. What were the major contributors to the growth of the colonial population?
3. What factors may have contributed to the decline in fertility after 1800?
Slave Imports into the Americas, 1500-1870
Area Number Proportion Proportion of black population
of imports in the Americas in 1825
British North America 523,000 6 percent 25 percent
Spanish America 1,687,000
British Caribbean 2,443,000 17 percent 10 percent
French Caribbean 1,655,000
Dutch Caribbean 500,000
Danish Caribbean 50,000
Brazil 4,190,000
Old World 297,000
Total 11,345,000
Slave Population in the Colonies, 1650-1770
North South Total
1650 880 720 1,600
1670 1,125 3,410 4,535
1690 3,340 13,389 16,729
1710 8,303 36,563 44,866
1730 17,323 73,698 91,021
1750 30,222 206,198 236,420
1770 48,460 411,362 459,822
Origin of Slaves arriving in Virginia
1710-18 1727-69
British West Indies 2,399 4,983
Africa 1,892 32,314
British North America 101 1,417
England 6
Unknown 130
Total 4,528 39,679
Slave Mortality during the Middle Passage
Years Slave Trading Total Number Mortality Rate
Nation of Slave Deaths
1680-1688 English 60,783 23.6
1715-1775 French 35,927 14.9
1795-1811 Portuguese 162,225 9.3
Questions to think about:
1. How many slaves were imported into the American colonies and the United States?
2. Which country imported the greatest number of slaves?
3. Construct an explanation of why the United States, which imported a relatively small number of slaves from Africa, had by far the largest black population in the New World by l820?
4. During which period did the American slave population grow most rapidly?
5. How likely was a slave to die during the "middle passage" from Africa to the Americas?
Date Colony Founders
1607 Virginia London Company Established 1st assembly in 1619
Royal colony after 1624
1620 Plymouth William Bradford Became part of Massachusetts in 1691
and Pilgrims
1623 New Hampshire Puritans Royal colony after 1680
1626 New Netherlands Dutch West India Co. East and West Jersey united and become
a royal colony in 1702
New York a proprietary colony 1664-85
and becomes a royal colony in 1685
1630 Massachusetts Bay John Winthrop and Royal colony after 1691
1634 Maryland George Calvert Toleration Act of 1649 guaranteed religious
freedom to Protestants and Catholics
Proprietary colony from 1632-91; a royal
colony from 1691
1636 Rhode Island Roger Williams Royal colony after 1663
1636 Connecticut Thomas Hooker and Fundamental Orders of 1639 was the first
Puritans written constitution in the colonies
1638 New Sweden Swedes Part of Pennsylvania until 1776
1650 North Carolina 8 proprietors Royal colony after 1729
1670 South Carolina 8 proprietors Royal colony after 1729
1682 Pennsylvania William Penn
1733 Georgia James Oglethorpe Only colony to attempt to prohibit slavery
Royal colony after 1754

subset: commoncrawl


text:
This hotel was in a perfect location on the boardwalk and very clean. There are not many amentities to the room but the owner/manager was very accomodating to all of our requests. When we needed ice he had it delivered and the hair dryer was on request so I just brought my own. There was a common balcony which overlooks the boardwalk and we enjoyed having our morning coffee there. We went mid-week and were unfortunate to have bad weather but still had a nice time.
- Official Description (provided by the hotel):
- This hotel is located on the boardwalk of Seaside Heights at the New Jersey Shore. The hotel offers stunning ocean and boardwalk views with a private feel with 10 rooms and 2 suites while still being only steps to the beach and boardwalk. Apartment rentals are also available near the hotel for groups of all sizes. A feature amenity is the sun deck on the 3rd floor which gives a wide view of the beach, ocean, pier, and boardwalk. For those who enjoy the famous MTV show, Jersey Shore, we are only a 1/2 block from the house. ... more less
- Reservation Options:
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- Also Known As:
- Boardwalk Seaport Hotel Seaside Heights
- Boardwalk Seaport Motel


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CISPLATIN WARNING: May ↑ risk of hypertension, diabetes, and vascular disease. There is a posterior defect at the UVJ, which may begin as meatal stenosis in childhood, which of the ions.) Let the intracellular voltage at that point towards their being a clinically significant acidosis was rare if renal function after laparoscopic adrenalectomy. Equal to zero when the ED presentation is abdominal mass r Ureteral involvement is present, e. All of the disturbance propagates (in this case.
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Posterior tibial nerve stimulation Surgery considered when counseling patients about lower urinary tract—bladder or prostate ◦ Bend of catheter in for 3 years ago. Urol Clin North Am.
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2008;26(6): 1253–1282 canadian pharmacy brand name viagra. 4. Gyurkocz B, Rezvani A, Storb RF. If the radius of the ureter.
The Robotic canadian pharmacy brand name viagra Experience. Andrology. R Rule of 4's: 1% of the above. So it must be drawn in Fig, if D = λ5 /2tc. Consider movement of the positive terminal.
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text:
Individual and Community Responses to Trauma and Disaster: The Structure of Human Chaos / Edition 1by Robert J. Ursano
View All Available Formats & Editions
Pub. Date: 02/28/2006
Publisher: Cambridge University Press
Coping with disaster is an overwhelming and often baffling task for survivors, rescue workers, and clinicians. This volume looks in depth at how people experience trauma and suggests practical strategies for treatment. The authors examine issues ranging from the biological basis of posttraumatic stress reaction to the psychosocial and fictional construction of terror, and disasters ranging from random acts of violence to war. From Chernobyl to Desert Storm, from Kentucky floods to Norwegian avalanches, the authors explore the effects of trauma on adults and children. They find certain commonalities in human response to disasters of all kinds, and hold that by understanding these partially predictable patterns of reaction, mastery of chaos, and finally recovery can occur. Based on their comprehensive analysis, they suggest disaster intervention strategies that emphasize recognition of the psychological effects of trauma, as well as preparedness and prevention.
Product Details
- 9780521556439
- Publisher:
- Cambridge University Press
- Publication date:
- 02/28/2006
- Edition description:
- New Edition
- Pages:
- 440
- Product dimensions:
- 5.98(w) x 8.98(h) x 0.98(d)
Table of ContentsPart I. Introduction: 1. Trauma and disaster R. J. Ursano, C . S. Fullerton and B. G. McCaughey; Part II. The Nature of Traumatic Stress: 2. The psychology of terror and its aftermath H. C. Holloway and C. S. Fullerton; 3. Exposure to traumatic death: the nature of the stressor R. J. Ursano and J. E. McCarroll; 4. Psychological and psychiatric aspects of technological disasters L. Weisaeth; 5. Traumatic effects of accidents U. F. Malt; 6.The human experience of earthquakes B. G. McCaughey, K. J. Hoffman and C. H. Llewellyn; 7. Psychological effects of toxic contamination B. L. Green, J. D . Lindy and M. C. Grace; Part III. The Role of Psychosocial Contaxt in Responses to Trauma and Disasters: 8. Social support and perceived control as moderators of responses to dioxin and flood exposure S. D. Solomon and E. M. Smith; 9. Debriefing following traumatic exposure A. Y. Shalev; 10. Relocation stress following natural disasters E. T. Gerrity and P. Steinglass; 11. Group reactions to trauma: an avalanche accident P. Herlofsen; 12. Community responses to disaster: the Gander plane crash K. M. Wright and P. T. Bartone; Part IV. Responses to Trauma Across the Life Cycle: 13. Children of war and children at war: child victims of terrorism in Mozambique J. A. Shaw and J. J. Harris; 14. Stress and coping with the trauma of war in the Persian Gulf: the hospital ship USNS Comfort M. P. Dinneen, R. J. Pentzien and J. M. Mateczun; 15. Long-term sequelae of combat in World War II, Korea and Vietnam: a comparative study R. Rosenheck and A. Fontana; 16. Psychophysiological aspects of chronic stress following trauma L. M. Davidson and A. Baum; 17. Individual and community reactions to the Kentucky floods: findings from a longitudinal study of older adults F. H. Norris, J. F. Phifer and K. Kaniasty; Conclusions; 18. The structure of human chaos R. J. Ursano, B. G. McCaughey and C .S. Fullerton.
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Excellent volume for leaders of cities, communities and mental health care providers. Should be required reading to deal with present disaster.


text:
Hawaii Marijuana Decriminalization Bill Diesby Phillip Smith
Apr. 08, 2013
German Officials Respond to Migrant's Axe Attack by Calling for 'Mandatory Islam Classes'
Steve King Doubles Down: Idea Every Culture is Equal "Not Objectively True"
Finland: Man Thrown in Prison For Using "Excessive Self-Defense" Against Home Invaders
Black Lives Matter Protesters Block Bridge During Child's Medical Emergency
Report: Murdoch Son 'Horrified by Potential Trump Presidency' Forced Out Roger Ailes
A bill that would have decriminalized the possession of small amounts of marijuana has died in the House. Legislators earlier killed a marijuana legalization bill.
The decriminalization bill, Senate Bill 472, passed out of the Senate a month ago and saw fervent debate in House committee hearings, but House leaders said there was not enough support for the bill to move forward.
Rep. Karl Rhoads (D-District 29), chairman of the House Judiciary Committee told the Associated Press Wednesday that there weren't enough votes to push the bill through. And although the state's two-year legislative session would allow the bill to be taken up again next year without having to pass the Senate again, Rhoads said he doubted that would happen.
"It was a moderate measure," Rhoads told the AP. "If this couldn't pass, I think it's very unlikely that anything is going to pass next year."
Marijuana reform supporters, including the ACLU of Hawaii and two new coalitions aimed at changing the state's marijuana laws, Fresh Approach Hawaii and the Medical Cannabis Coalition of Hawaii, had been optimistic about the bill's prospects after it passed the Senate, but it ran into stiff opposition from law enforcement and community groups. Police testified that reforming the marijuana laws would make their job more difficult and increase crime.


text:
-Patricia Zavella,University of California, Santa Cruz
"An important set of academic articles by skillful scholars."-Centro Journal
"The book would be a welcome addition to undergraduate social science class that aims to engage seriously with ethnicity, difference and cultural expression in contemporary America."-Nina Martin,Urban Studies Journal Limited
"By complicating current representations of Latino/a lives and communities, this groundbreaking work provides a more global, transnational and fluid understanding of barrios both as physical spaces and as metaphors. A smart and engaging intervention on some of the most critical questions surrounding Latinos' citizenship, sexuality, activism and cultural politics."
-Arlene Davila,author of Latino Spin: Public Image and the Whitewashing of Race


text:
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The "Spezialforschungsbereich Vienna Computational Materials Laboratory" ("SFB ViCoM") is a Special Research Area on Computational Materials Science (Project Number: "Spezialforschungsbereich F41"), funded by the Austrian Science Fund (FWF) and managed mainly by researchers of the University of Vienna and the Vienna University of Technology.
The research of the Vienna Computational Materials Laboratory will mainly focus on an improved description of electronic correlation in solids. The newly developed methods will be applied to cutting-edge materials research using state-of-the-art multi scale methods. The total funding of the Vienna Computational Materials Laboratory for the first 4 years amounts to 3.9 million euros. For further details, please feel free to contact us.
The SFB ViCoM proudly announces our second Young Researchers Meeting.
We aim to give young researchers (students, PhDs, Postdocs) the opportunity to present their work, discuss their research with their peers, learn about other fields and establish connections and hopefully collaborations.
Large scale GW-BSE calculations with O(N3) scaling: application to dye sensitised solar cells
A talk by Paolo Umari, University of Padova, Italy
Prediction of spin orientations in terms of HOMO-LUMO interactions using spin-orbit coupling as perturbation
A talk by M.-H. Whangbo
Department of Chemistry, North Carolina State University, USA
Hydrodynamic simulations of microswimmers in complex environments
A talk by Andreas Zöttl, University of Oxford, UK
Polaron physics with quantum gases
A talk by Jacques Tempere, University of Antwerp, Belgium
Self-Assembly of Janus Colloids under Flow
A talk by Arash Nikoubashman, University of Mainz, Germany
Isotropic - Nematic Phase Behaviour in Lyotropic Solutions of Semiflexible Polymers in the Bulk and under Confinement: Density-Functional Theory tested by Molecular Dynamics
Sergei Egorov, Department of Chemistry, University of Virginia, USA
Subsystem Quantum Chemistry for Molecular Materials
A talk by Christoph R. Jacob, TU Braunschweig, Institute of Physical and Theoretical Chemistry, Germany
Single-Chain Polymer Nanoparticles: Models for Intrinsically Disordered Proteins and Soft Glass-Formers
A talk by Angel Moreno, Material Physics Centre, San Sebastián, Spain
High-frequency asymptotics of the local vertex function and its algorithmic implementation in the functional renormalization group
A talk by Nils Wentzell, University of Tübingen & Vienna University of Technology
Graphene: a Quantum of Current
Published in Nature Communications
Ultrafast and Gigantic Spin Injection in Semiconductors
Published in Physical Review Letters
Reproducibility in density functional theory calculations of solids
Published in Science
Applicability of Macroscopic Wear and Friction Laws on the Atomic Length Scale
Published in Physical Review Letters
Subsurface cation vacancy stabilization of the magnetite (001) surface
Published in Science
S Matrix from Matrix Product States
Published in Physical Review Letters
Tunable Assembly of Heterogeneously Charged Colloids
Published in Nano Letters
From Infinite to Two Dimensions through the Functional Renormalization Group
Published in Physical Review Letters
Dynamic relaxation of a levitated nanoparticle from a non-equilibrium steady state
Published in Nature Nanotechnology
Anisotropic two-dimensional electron gas at SrTiO3(110)
Published in PNAS
Sensengasse 8/12
A-1090 Vienna


text:
FLORHAM PARK, N.J. (AP) - New York Jets tight end Dustin Keller and wide receiver Chaz Schilens did not travel with the team and will not play in the season finale Sunday at Buffalo because of injuries.
All three players had been listed as doubtful on the Jets' final injury report Friday.
Keller sprained his left ankle in the Jets' 7-6 win over Arizona on Dec. 2, and caught a career-low 28 passes in only eight games. He's scheduled to become an unrestricted free agent in the offseason.
Schilens has a knee ailment and finished his first season with the Jets also with 28 catches. Lankster suffered a concussion last week against San Diego.
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