Michael Lin“They paved paradise and put up a parking lot.”–Joni Mitchell[1]Joni Mitchell’s popular song “Big Yellow Taxi” (1. United States by invoking the parking lot as the ultimate dystopian metaphor. This expansive flood of tar, laid over fertile ground, decimating nature for the sake of a hard, textured pedestal on which to temporarily plant one’s fossil- fuel- guzzling hunk of metal, signals modern consumer society’s pinnacle of irresponsibility to the great outdoors. You don’t know what you got till its gone,” Mitchell sings—but what exactly are we left with, after “they took all the trees, and put them in a tree museum”?[2]The parking lot is a nonspace in the strictest Augéian sense—a graphic embossment upon the flat landscape that, upon entering, immediately conflates one’s identity both with his/her mode of transportation and the need to momentarily abandon it. It is the ultimate destination, the end game of any drive, the terminus of every road, highway, and backstreet. While the car embodies mobility and speed, the parking lot embodies its antithesis.
In fact most cars spend 9. Marlaine Glicksman observes is the parking lot re- visioned as habitat: the trailer park—whether as poorer man’s abode or (upwardly) mobile vacation home, both emphasize transience over permanence. As the automobile’s leisure den, the parking lot becomes synonymous with excess: of land, sky, natural resources, labor, cars, and capital.
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It is a tract of ground inextricable from society’s “dictatorship of the automobile,”[4] which, in tandem with strip malls, fast food, and drive- ins (and churches, restaurants, movie theaters, motels . WWII America. The ubiquitous parking lot serves as a literal reminder of the space that the automobile has taken up in public consciousness and in the economy of the modern landscape. Ed Ruscha was the first artist to introduce the parking lot to the art world’s attention, with his limited- edition books that employed photographic data as an extension of Duchamp’s Readymade tradition. Twenty Six Gasoline Stations (1.
Dische diphenylamine test - makes deoxyribose into another molecule that bonds w/ diphenylamine to make. underline name when handwritten, italicize when typed. This page contains Chapter 25 of the text Chiropractic Management of Sports and Recreational Injuries UPDATED 12-05-2016 http://www.chiro.org/ACAPress/Lumbar_Pelvic. Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications and get. · A river on a rocky course. Another version that Gopal has heard from many. Reinhard teaches the village kids skateboarding and is involved in.
Route 6. 6 from L. A. to the artist’s hometown, Oklahoma City. These everyday edifices and spaces conveyed, through Ruscha’s deadpan approach, nothing more than their factuality. The images were simply a presentation of the artist’s untempered observations, leaving the viewer to fill in the subject’s relevance—sociopolitical, artistic, or otherwise—a testimony to mankind’s impotence against the import of his über- practical, characterless creations.
For his fifth book, Thirty Four Parking Lots in Los Angeles, Ruscha intentionally chose Sunday morning, when the lots would be empty, to photograph these rectangular expanses in their naked form. From a helicopter above, they take on the look of modern- day Mayan earthworks—an extra- large example of the grid’s ubiquity and continued imprint upon civilization. Yet Ruscha was not interested in the historical significance of these lines. Those patterns and their abstract design quality mean nothing to me. I’ll tell you what is more interesting: the oil droppings on the ground.”[5] For Ruscha, the matter of which spaces garnered the most use, or the parking lot as a site of sociological behavior, took precedence over its physical construct. Ruscha’s deadpan typology of L. A.’s urban lots undeniably set the tone for contemporary art and architecture’s intrigue with the highway and the parking lot as a venue for artistic exploration.
It is an infatuation that is arguably rooted in the spatial sensibilities of West Coast America. Learning from Las Vegas, by the iconic instigators of postmodern architecture Robert Venturi, Denise Scott Brown, and Steven Izenour, opens with the chapter “A Significance for A& P Parking Lots, or Learning from Las Vegas,” in which the authors equate the modern supermarket parking lot with the gardens of Versailles and the Roman piazza: To move through a piazza is to move between high, enclosing forms. To move through this landscape is to move over vast expansive texture: the megatexture of the commercial landscape. The parking lot is the parterre of the asphalt landscape. California- based artists John Baldessarri (The Backs of All the Trucks Passed While Driving from Los Angeles to Santa Barbara, California, Sunday, 2.
January, 1. 96. 3) and Chris Burden (Trans- fixed, 1. Survival Research Laboratories’s many volatile performances in unsolicited Bay Area parking lots; and the Center for Land Use Interpretation, whose long- term research on the micro- and macro- manifestation of the parking lot resulted in their 2.
Pavement Paradise: American Parking Space, all testify to this West Coast fascination with the road and lot. FAST- FORWARD TO BEIJING, 2. China’s miraculous economic accomplishments, like those of the U. S., are also manifest in its roadways. In fact, China accounts for half of the billion- plus cars in the world today.[7] Just as the country’s GDP has increased 4. People’s Republic has followed suit, increasing 1. The amount of registered cars in Beijing alone has quadrupled over the past 1.
As the number of cars and drivers (7. Beijing city planners scramble behind to provide adequate road and parking space.[9]Artist Michael Lin, born in Tokyo, spent most of his childhood and young adult years in Los Angeles, before returning to his ancestral home of Taiwan and then moving to Paris. He now shuttles between studios in Shanghai and Brussels, and while his identity and work are defined by a sense of cultural nomadism, he is still very much a California boy at heart. The amount of time he has spent in Beijing has been quite limited, but having grown up in L. A., the city with the most road congestion in the U.
S.,[1. 0] he is sensitive to traffic issues. In fact Beijing’s likeness to L. A. was one of the initial observations Lin made when first visiting the city. Even though Beijing’s overall concentric design is quite ordered, any visitor can experience an overwhelming sense of disorientation with its recent rapid expansion. The seemingly infinite waves of roadways that emanate in virtually all compass directions from the Forbidden City, in the center, outward past its seven—and still counting—ring roads, like a swirling black hole, leave little sense of direction to the unacquainted visitor. For Lin, this disorientation seriously thwarted his ability to identify a “sense of place,” or what geographer Yi- Fu Tuan calls “topophilia”: the affective bond between people and setting. Beijing’s distinction is its congestion, anarchic sprawl, density, and directionlessness.
There is no there there” is how Gertrude Stein described Oakland, California, in 1. This might also reflect Lin’s sentiment of Beijing, as would Lewis Mumford’s “formless masses of urban residues,” which described metropolitan expansion at the beginning of the twentieth century. Of these formless masses was the stifled roadway, collapsing into a state of atrophy with the clogging of cars, reminding us that automobile transport is ultimately monotechnic—technology only for its own sake, that not only oppresses other forms of transport but humanity, as well.[1.
And so it was on the spiraling ring roads that Michael Lin, stuck in traffic, contemplated Beijing. Taking cues directly from his life, Lin’s oeuvre has to some extent always grappled with the notion of place. Building upon equal parts relational aesthetics, multiculturalism, and California’s Cool School, Lin’s art often takes the form of an open invitation. He carefully sets the parameters and conditions for the work but leaves it up to its participants—be they collaborators, fabricators, or visitors— to activate it. Guggenheim Museum curator Alexandra Monroe discusses his work in terms of “network paradigm,” or its multidisciplinary collaborative nature, which reflects the logic of online social media.[1.
A river on a rocky course. If the Ken- Betwa river interlinking plan takes off, it will change the lives of many in the region. But will it be for the better or worse?
Many would think it’s a crazy pastime — walking along a riverbed on a blazing hot summer day, gathering rocks and taking their pictures. Professor Brij Gopal has been doing just that for the past five years. The aquatic geologist is studying the morphology of River Ken in Madhya Pradesh, examining the overhanging rocks, the potholes on its bed, and generally muddying his fingers looking at the sediments. Half the world may not have heard of River Ken, or Karnawati, her ancient name. She flows just 2.
Khajuraho, one of the most visited sites in the world, and right through the Panna National Park and tiger reserve. So why is the good professor spending so much time pottering around this tiny river that springs from the Vindhyas and merges with the Yamuna, when there are bigger and better- known rivers around? Ken is a geological and geomorphologic marvel,” he says, animatedly pointing out how the potholes on this river, which flows through deep- cut valleys, gorges and canyons, are so different from those found in the mighty Narmada and Godavari, two other rock- bed rivers. The potholes occur on sandstone here, which is very rare; they are usually found on basalt or granite,” he says. We may find the fuss over potholes mystifying. But geologists get excited as these are associated with melting glaciers that lead to turbulence in rivers and hold deep clues for scientists.
What’s also driving the former environmental sciences professor at JNU to spend money out of his pocket and document the river is the controversial Ken- Betwa link project — India’s most ambitious river interlinking programme till date. And one that threatens the existence of the river and the forest it feeds. The professor who shuttles between Jaipur and Khajuraho, studying the bed characteristics, sediments, biodiversity and water quality of Ken, says that the river has not been properly studied.
Whatever data the National Water Development Agency (the nodal agency in the interlinking plan) has used is on the flow, rain gauges and rainfall pattern,” he says. He worries that several of his discoveries may get submerged once the big dam and reservoir are built at Panna, especially since the government is pushing ahead with the project and not sharing its hydrology reports. He hopes his intensive documentation will help save the heritage sites. Gopal waxes eloquent about the rock paintings in the reserve’s buffer zone, believing they could date back to the Pandava era.
The Pandavas, it is believed, spent their exile in these forests, which are not far from Chitrakoot. But what excites him is a rare geological feature at Pandavan, the place where River Mirhasan joins the Ken and the water suddenly disappears into a deep rift. Legend has it that the river did not want to disturb the Pandavas and hence went underground. Another version that Gopal has heard from many villagers is that the Pandavas wanted to stop the river but she turned into a fish and slipped under their feet.
Pandavan is of historical and cultural interest and needs to be declared a geoheritage site before it is submerged under the reservoir,” he says. Gopal is not the only one who is worried. Others who have devoted a lifetime to River Ken too are sceptical about the interlinking project. Shyamendra Singh, or Vini Raja, as he is popularly called, who helped put Panna Tiger Reserve on the tourist map with his beautiful lodge and exciting wildlife safaris, is very concerned about the fate of the big cat. When Vini came here in the ’8.
I had two options,” says the Mayo alumnus who excelled in mountaineering. Either go live in the mountains and organise treks or do something around wildlife.” Hailing from the royal family of Nagod, which is close to Panna, he chose the central Indian plains to start his wildlife enterprise. There were no tigers in the park when Vini constructed his lodge by the river. Two females and one male were brought in and subsequently, four more. The tiger population multiplied from seven to 3.
Panna one of the most successful big cat translocation experiments in India. By the mid- 1. 99. Other lodges and camps too came up. But then the poachers arrived, endangering the tigers, followed by the floods in 2. Panna. Vini lost his home and the park its tigers.
I almost moved out, but the villagers had become dependent on tourism for their livelihood and urged me to rebuild,” he says. In 2. 00. 9, there were practically no tigers left in Panna and it’s been a herculean effort to get them back. But now the roar is back. Four tigers and around 1. Raghu Chundawat, who blew the whistle on the poaching, and the field director of the Panna Reserve. In 2. 01. 0, Chundawat along with his British wife Joanna van Gruisen opened the Sarai at Toria, by the banks of the Ken.
If the interlinking project takes off, Vini fears that the tigers will be threatened again and the years of conservation will come to nought. The area around is going to get shortened. Panna is very narrow, and further down the forest are rocky areas that are not tiger terrain; they are more conducive to antelopes.” The authorities will have to create a corridor to Bandhavgarh, towards the east, for the tigers to move, otherwise their numbers will dwindle, he says. River activists like Himanshu Thakkar, coordinator of South Asia Network on Dams, Rivers and People, agree. Rivers are the mother of civilisation. But forests are the father of rivers and this project is going to destroy the forest that sustains Ken,” Thakkar warns.
On the cusp of two trails. River Ken finds itself at the intersection of two tourist trails in central India.
There is the cultural trail starting from the Bundelkhand kingdom of Orchha, near Jhansi, on to Khajuraho and through Panna to Chitrakoot, and beyond that to Varanasi. Then there is the wildlife and ecology trail from Panna to Bandhavgarh to Kanha and beyond to Pench, with interesting sights like Raneh Falls en route. Millions visit Khajuraho but few take the trouble of travelling 3. River Ken plunges down the gorges.
The canyon, made of crystalline granite in pink, green, brown and black basalt hues, fill you with the same awe that you feel looking at the marble rocks at Jabalpur. Gehrighat, where the Ken enters the gorge, is a vital vulture habitat in the park, says Gopal.
Once a gharial haunt, Vini says the drought and declining water levels have forced the reptiles to either swim away or die. There is one gharial left,” he says. The sad part is that there is not enough water in the river for what the government is dreaming to achieve,” he adds. The interlinking project hopes to irrigate six lakh hectares and supply water to 1.
But Manoj Misra, a former forest officer and the convenor of the Yamuna Jiye Abhiyan, says these claims are wrong. He is baffled how a river that is running dry will feed the Betwa, which is always full. It’s like taking nutrition away from a thin man to feed a fat man,” says Misra. S Masood Hussain, director general of the NWDA defends the interlinking plans.
The average per capita water storage created in India is 2. China (1,1. 00 cubic metres) or the US (1,9. We are nowhere near these nations in water security. We rely too much on providence and we need to come out of it,” he says.
According to him, creating more reservoirs will equip us better against both droughts and floods. Meanwhile, the villagers are divided. Many are tempted by the prospect of fat compensation and the dream of water flowing through the region. But the villages where people have invested in rainwater harvesting and found ways to cope with the dry summers want nature to be left alone. Prem Singh, a farmer activist in Badokar Khurd in Banda district of Uttar Pradesh says rivers, like blood vessels, know their job is to nurture the earth and take their routes accordingly.