1884: The Solvay Process Company (later to become Allied-Signal Corp.) begins production of soda ash.
1918: The Solvay Process Company begins production of organic chemicals.
1940: Swimming is banned.
1946: Allied begins chlorine production and discharges mercury into the lake.
1960: Construction of the Onondaga County Metropolitan Wastewater Treatment Plant (Metro) is completed. 1970: Fishing is banned. Due to the discovery of mercury in the lake's fishery, the US Attorney General sues Allied-Signal to stop mercury dumping. The amount of mercury discharged to the lake is calculated to be 22 lb/day.
1977: Allied closes chlorinated benzene plant and Willis Avenue chlor-alkali plant. 1979: Metro is upgraded to secondary and tertiary treatment. 1986: Allied closes soda ash manufacturing operations.
Calcium carbonate
Mercury
Clay
Silt
Phosphorus
Ammonia
Nitrite
Pathogenic bacteria and viruses
PCBs
chlorinated benzenes
chloride, sodium, and calcium (salts)
Phosphorus leads to algae growth which impacts the lake's water clarity and when the algae die, oxygen is consumed which leads to depletion of oxygen in the lake.
The Allied chlor-alkali facility discharged an estimated 165,000 pounds of mercury to Onondaga Lake from 1946 until 1970. Scientists estimate that 7 million cubic yards of the lake sediments remain contaminated.
Methyl mercury, formed in aquatic systems through the activity of certain bacteria, is among the most poisonous chemicals known. If all the mercury in the average fever thermometer were converted to methyl mercury, it would be enough to render more than 10,000 one pound largemouth bass unfit for human consumption.
To do:
Sunday: Search for information for label - everyone
Make label - Blair
Monday: Buy water bottles and poster board - Blair
Buy water bottles - Pierson
Make water bottles - everyone
Wednesday: Bring camera: Blair, Pierson
Do project: everyone
Introduction: Alyssa
Before we talk about our project, I want to quickly go over some of the history of Onondaga Lake:... Now that we’re all on the same page, we’ll talk a little about our proposed project.
Project: Pierson
We don’t think enough has been done to clean up Onondaga Lake, so we are planning to perform, after class today, a piece of public art. We bought these bottles of water and changed the labels so that they say Onondaga Lake Water. Additionally, we created a Nutrition chart on the back listing some of the toxins in Onondaga Lake, which include:…
Outcome: Blair
As we pass these out, we plan to give the subjects some startling facts about the toxins in Onondaga Lake, like:… We plan to document their reactions. We’re not expecting a certain reaction, but instead we’re kind of carrying out an experiment to see what happens and how people react, kind oh like the Panhandling for Reparations or the Couple in the Cage. That’s about it, and you guys can stop on by if you want to check out what we’re doing. We’re going to be on the quad or in the general area.
Sunday, December 2, 2007
Thursday, November 29, 2007
1. Bringing awareness to the pollution in Onondaga Lake
2. Wonder Twins activate!…form of…a WATER BOTTLE!
3. Location = Armory Square, because lots of people are always there.
4. Onondaga Lake has gone from awesome to not awesome due to pollution since the turn of the century
5. Awareness needs to be drawn to the pollution level of the water of Onondaga Lake
6. Intervention, because something needs to be done about the contaminant levels in the water
7. I don’t see why not
8. I hope that the piece fits in with Armory Square by getting the people walking by involved
9. Demali Ayo’s panhandling for reparations has inspired this in some way. Her piece was controversial as is this project in its own way.
10. Raise awareness about the pollution
11. Number of water bottles given out
12. Local people are the target audience because they have to live with Onondaga Lake being practically in their backyard. They should be surprised by the facts presented on the water bottle.
13. Simply take a bottle.
2. Wonder Twins activate!…form of…a WATER BOTTLE!
3. Location = Armory Square, because lots of people are always there.
4. Onondaga Lake has gone from awesome to not awesome due to pollution since the turn of the century
5. Awareness needs to be drawn to the pollution level of the water of Onondaga Lake
6. Intervention, because something needs to be done about the contaminant levels in the water
7. I don’t see why not
8. I hope that the piece fits in with Armory Square by getting the people walking by involved
9. Demali Ayo’s panhandling for reparations has inspired this in some way. Her piece was controversial as is this project in its own way.
10. Raise awareness about the pollution
11. Number of water bottles given out
12. Local people are the target audience because they have to live with Onondaga Lake being practically in their backyard. They should be surprised by the facts presented on the water bottle.
13. Simply take a bottle.
Monday, November 5, 2007
A Funkified Nation
Adrian Piper's Funk Lessons (1982-84) were dialogic experiments that incorporated the learning of black funk music and how to dance to it. The real underlying motive in these experiments, however, was to shed light on racial issues. These issues would become obvious as the whites preconceived notions were revealed about funk and its relation, or lack thereof, to ‘high culture.’ Piper’s funk lessons provided a way for racial issues to be confronted in a positive, voluntary manner.
Adrian Piper’s Funk Lessons were designed to bring a part of black popular culture to a white audience that had been, until this point, mostly inaccessible. These lessons, which were an “energetic, ''Soul Train''-style demonstration that at least some perceived racial distinctions are learned, and learnable, behavior” tried to break down racial barriers between whites and blacks (Cotter 1). This experiment had a few goals such as to teach the intricacies of funk music to a white audience who might have taken the music for granted, as well as teach them some basic dance moves, all while trying to expose this important part of black culture and alleviate certain racial issues.
Piper realized early on that there seemed to be a cultural gap between blacks and whites. Often times, when she would have guests over for dinner, she would start playing classical pieces by composers such as Bach, Mozart, or Beethoven. However, as the night progressed, she would interpose some funk music and note her guests’ reactions as they all became puzzled, or even aggravated. This is what originally alerted her of this cultural divide, giving her the idea for Funk Lessons.
By placing this group of whites outside their comfort zone, Piper's funk lessons effectively brought to light issues of race. Not only were these issues brought up, but also overcome as Piper notes; “We were all engaged in the pleasurable process of self-transcendence and creative expression within a highly structured and controlled cultural idiom, in a way that attempted to overcome cultural and racial barriers” (Bishop 131). In other words, the environment that Piper created with her audience was conducive to voluntary dialogue about the individual feelings of each participant. Often times, the experiment would first make the white audience experience anxiety, anger, or contempt.
“Anxiety, because its association with black, working-class culture engenders unresolved racist feelings that are then repressed or denied rather than examined; anger; because it is both sexually threatening and culturally intrusive to individuals schooled exclusively in the idiom of the European-descended tradition of classical, folk, and/or popular music; contempt, because it sounds ‘mindless’ or ‘monotonous’ to individuals who, through lack of exposure or musicological training, are unable to discern its rhythmic, melodic and topical complexity.”
Bishop 133
Paired with these emotions, audience members would often feel embarrassment as well because of funk music’s association with adolescent dancing, dating and sexual competence. These negative subconscious views would often remain into adulthood. Adrian Piper’s lessons, however, finally opened up the door for her audience. They felt accepted into the culture, and thus eventually expressed themselves freely via dance. This allowed them to overcome these racial barriers that Piper mentioned. In this sense, Piper’s Funk Lessons were very effective.
Although the project seemed successful for the participants, it did not, however, take into account the feelings of blacks who might hold the belief that funk should not deem the title of 'high culture.' Perhaps jazz, which, in a sense, could be considered more of an elite genre of music and thus high culture, should have been used for the lessons. However, dancing is not as inherent in jazz as it is in funk. Piper would then have been faced with making a sacrifice; either sacrificing the dance, or the ‘high culture.’ Funk, however, still did not seem as accessible to white culture as jazz, and so there seemed to be more of an unknown, unexplored factor to it. By choosing funk music and dance as her medium, Piper created a controlled environment that allowed the whites to break out of their comfort zones and feel accepted into a new culture.
Piper's funk lessons could have had an even more successful impact on the audience, perhaps, had the project forced more racial dialogue once the members had become comfortable with the dancing. On the other hand, perhaps Piper did not want to push the envelop too far, worrying that the audience might then revert back to being uncomfortable about the racial issues.
These funk lessons, done in the mid 1980’s, were successful in many respects due to the musical separation of that time. Today, hip-hop has been infused into white culture a lot more than in the past, thus posing the question of how the same type of project would be effectively constructed in the present. A growing number of white artists are even making it in the hip-hop business, showing that the cultural gap is slowly diminishing. With this in mind, one could question whether the same experiment would have any effect at all in today’s society. In a sense, it would be forcing the assimilation of two cultures that have already, over the years, become assimilated naturally. Perhaps, for this experiment to have the same effect as it did in the 1980’s, a more extreme cultural difference would have to be imposed on the white audience. Interestingly enough, it is very difficult today to find traits that belong to only blacks . Black clothing styles, Ebonics, and hip-hop music have all become commonplace in white culture. Thus, perhaps what Adrian Piper was originally trying to achieve, has in at least someway, occurred naturally since her funk lessons in the mid 1980’s.
Unlike Damali Ayo's panhandling project, where she asked for reparations from whites, Piper's lessons did not have the intent of forcing guilt, but rather had a positive impact. By avoiding the issue of slavery, unlike the panhandling public art project, the audience, although at first uncomfortable, were able to have positive, productive dialogues and ultimately overcome racial barriers. Perhaps the intent is not what needs to be examined, but rather just the outcome, which in almost every instance, was positive. According to Ron Platt, the curator at the Weatherspoon, Piper is “really asking that people think about their own attitudes about race and class and gender” (Frascina 11). In a sense, she is not forcing a view of how whites should act about issues of race, but rather asking them to evaluate how they really feel about those issues. Piper has “been doing pieces the significance and experience of which is defined as completely as possible by the viewer’s reaction and interpretation. Ideally the work has no meaning or independent existence outside of its function as a medium of change” (Kester 69). In other words, there is no real intent with many of Piper’s art projects. The defining aspect of her works depend entirely on the audiences interpretation and reaction.
Adrian Piper’s Funk Lessons were executed in a very controlled environment. The audience was willing to participate. The dialogue was somewhat guided by Piper herself. The number of people participating was specifically selected for the purpose of success. However, in the real world, there are no controlled environments such as this. One wonders if such a racial barrier breaking project would be met with as much success, or any at all, in a less controlled environment such as the real world. Perhaps it would be a different type of success. As Piper said herself, there is often no real intent of her works. If a large ‘audience’ in the real world, composed of people of all ages and races, was introduced to a certain culture’s music, perhaps it could be met with success in the sense that that audience has now been invited to enjoy something that might not have been accessible to them otherwise. On the other hand, in a less controlled environment, individuals might be less likely to leave their comfort zones and participate.
Had the project been completely turned around - whites teaching blacks how to dance - would it have brought up racial issues as effectively, or might it be taken differently and even considered racist? Do blacks have the same repressed feelings of anxiety, anger, and contempt about ‘white music?’ Perhaps the project, consisting of teaching blacks about white ‘high culture,’ and allowing them to participate, could be seen as racist, even though it would be no different than Adrian Piper’s original experiment. Might it even evoke more anger than successful barrier breaking? Perhaps, since the two cultures are more mixed today than they were in the 80’s, this reversal of Piper’s project would be just as ineffective.
Through funk lessons, Piper’s white audience was able to come to terms with personal racial issues from past experiences, as well as learn the intricacies of funk music. Her experiments enjoyed much success due to the fact that in the 80’s there was more of a cultural divide between whites and blacks, and also due to the controlled environment that she imposed on the lessons. However, it seems clear that this experiment would have to be radically altered to be effective in today’s society, if it could be executed at all. This can be explained by the almost natural assimilation of the two cultures over the past 20 to 30 years. Although racial issues still exist today, the meshing of black and white culture has grown in today’s society.
Adrian Piper’s Funk Lessons were designed to bring a part of black popular culture to a white audience that had been, until this point, mostly inaccessible. These lessons, which were an “energetic, ''Soul Train''-style demonstration that at least some perceived racial distinctions are learned, and learnable, behavior” tried to break down racial barriers between whites and blacks (Cotter 1). This experiment had a few goals such as to teach the intricacies of funk music to a white audience who might have taken the music for granted, as well as teach them some basic dance moves, all while trying to expose this important part of black culture and alleviate certain racial issues.
Piper realized early on that there seemed to be a cultural gap between blacks and whites. Often times, when she would have guests over for dinner, she would start playing classical pieces by composers such as Bach, Mozart, or Beethoven. However, as the night progressed, she would interpose some funk music and note her guests’ reactions as they all became puzzled, or even aggravated. This is what originally alerted her of this cultural divide, giving her the idea for Funk Lessons.
By placing this group of whites outside their comfort zone, Piper's funk lessons effectively brought to light issues of race. Not only were these issues brought up, but also overcome as Piper notes; “We were all engaged in the pleasurable process of self-transcendence and creative expression within a highly structured and controlled cultural idiom, in a way that attempted to overcome cultural and racial barriers” (Bishop 131). In other words, the environment that Piper created with her audience was conducive to voluntary dialogue about the individual feelings of each participant. Often times, the experiment would first make the white audience experience anxiety, anger, or contempt.
“Anxiety, because its association with black, working-class culture engenders unresolved racist feelings that are then repressed or denied rather than examined; anger; because it is both sexually threatening and culturally intrusive to individuals schooled exclusively in the idiom of the European-descended tradition of classical, folk, and/or popular music; contempt, because it sounds ‘mindless’ or ‘monotonous’ to individuals who, through lack of exposure or musicological training, are unable to discern its rhythmic, melodic and topical complexity.”
Bishop 133
Paired with these emotions, audience members would often feel embarrassment as well because of funk music’s association with adolescent dancing, dating and sexual competence. These negative subconscious views would often remain into adulthood. Adrian Piper’s lessons, however, finally opened up the door for her audience. They felt accepted into the culture, and thus eventually expressed themselves freely via dance. This allowed them to overcome these racial barriers that Piper mentioned. In this sense, Piper’s Funk Lessons were very effective.
Although the project seemed successful for the participants, it did not, however, take into account the feelings of blacks who might hold the belief that funk should not deem the title of 'high culture.' Perhaps jazz, which, in a sense, could be considered more of an elite genre of music and thus high culture, should have been used for the lessons. However, dancing is not as inherent in jazz as it is in funk. Piper would then have been faced with making a sacrifice; either sacrificing the dance, or the ‘high culture.’ Funk, however, still did not seem as accessible to white culture as jazz, and so there seemed to be more of an unknown, unexplored factor to it. By choosing funk music and dance as her medium, Piper created a controlled environment that allowed the whites to break out of their comfort zones and feel accepted into a new culture.
Piper's funk lessons could have had an even more successful impact on the audience, perhaps, had the project forced more racial dialogue once the members had become comfortable with the dancing. On the other hand, perhaps Piper did not want to push the envelop too far, worrying that the audience might then revert back to being uncomfortable about the racial issues.
These funk lessons, done in the mid 1980’s, were successful in many respects due to the musical separation of that time. Today, hip-hop has been infused into white culture a lot more than in the past, thus posing the question of how the same type of project would be effectively constructed in the present. A growing number of white artists are even making it in the hip-hop business, showing that the cultural gap is slowly diminishing. With this in mind, one could question whether the same experiment would have any effect at all in today’s society. In a sense, it would be forcing the assimilation of two cultures that have already, over the years, become assimilated naturally. Perhaps, for this experiment to have the same effect as it did in the 1980’s, a more extreme cultural difference would have to be imposed on the white audience. Interestingly enough, it is very difficult today to find traits that belong to only blacks . Black clothing styles, Ebonics, and hip-hop music have all become commonplace in white culture. Thus, perhaps what Adrian Piper was originally trying to achieve, has in at least someway, occurred naturally since her funk lessons in the mid 1980’s.
Unlike Damali Ayo's panhandling project, where she asked for reparations from whites, Piper's lessons did not have the intent of forcing guilt, but rather had a positive impact. By avoiding the issue of slavery, unlike the panhandling public art project, the audience, although at first uncomfortable, were able to have positive, productive dialogues and ultimately overcome racial barriers. Perhaps the intent is not what needs to be examined, but rather just the outcome, which in almost every instance, was positive. According to Ron Platt, the curator at the Weatherspoon, Piper is “really asking that people think about their own attitudes about race and class and gender” (Frascina 11). In a sense, she is not forcing a view of how whites should act about issues of race, but rather asking them to evaluate how they really feel about those issues. Piper has “been doing pieces the significance and experience of which is defined as completely as possible by the viewer’s reaction and interpretation. Ideally the work has no meaning or independent existence outside of its function as a medium of change” (Kester 69). In other words, there is no real intent with many of Piper’s art projects. The defining aspect of her works depend entirely on the audiences interpretation and reaction.
Adrian Piper’s Funk Lessons were executed in a very controlled environment. The audience was willing to participate. The dialogue was somewhat guided by Piper herself. The number of people participating was specifically selected for the purpose of success. However, in the real world, there are no controlled environments such as this. One wonders if such a racial barrier breaking project would be met with as much success, or any at all, in a less controlled environment such as the real world. Perhaps it would be a different type of success. As Piper said herself, there is often no real intent of her works. If a large ‘audience’ in the real world, composed of people of all ages and races, was introduced to a certain culture’s music, perhaps it could be met with success in the sense that that audience has now been invited to enjoy something that might not have been accessible to them otherwise. On the other hand, in a less controlled environment, individuals might be less likely to leave their comfort zones and participate.
Had the project been completely turned around - whites teaching blacks how to dance - would it have brought up racial issues as effectively, or might it be taken differently and even considered racist? Do blacks have the same repressed feelings of anxiety, anger, and contempt about ‘white music?’ Perhaps the project, consisting of teaching blacks about white ‘high culture,’ and allowing them to participate, could be seen as racist, even though it would be no different than Adrian Piper’s original experiment. Might it even evoke more anger than successful barrier breaking? Perhaps, since the two cultures are more mixed today than they were in the 80’s, this reversal of Piper’s project would be just as ineffective.
Through funk lessons, Piper’s white audience was able to come to terms with personal racial issues from past experiences, as well as learn the intricacies of funk music. Her experiments enjoyed much success due to the fact that in the 80’s there was more of a cultural divide between whites and blacks, and also due to the controlled environment that she imposed on the lessons. However, it seems clear that this experiment would have to be radically altered to be effective in today’s society, if it could be executed at all. This can be explained by the almost natural assimilation of the two cultures over the past 20 to 30 years. Although racial issues still exist today, the meshing of black and white culture has grown in today’s society.
Friday, November 2, 2007
Funk paper
1. Adrian Piper's Funk Lessons (1982-84) were dialogic experiments that incorporated the learning of black funk music and how to dance to it.
Piper's funk lessons would often begin with the introduction of basic dance moves to the audience, as well as the discussion of their cultural and historical meanings.
By placing this group of whites outside their comfort zone, Piper's funk lessons effectively brought to light issues of race.
Although the project was somewhat successful, it also upset many blacks who believed that funk should not deem the title of 'high culture.'
Piper's funk lessons could have had a more successful impact on the audience, perhaps, had the project forced more racial dialogue.
Today, hip-hop has been infused into white culture a lot more than in the past, thus posing the question of how the same type of project would be effectively constructed today.
Unlike Damali Ayo's panhandling project, Piper's lessons did not have the intent of forcing guilt, but rather had a positive impact.
Had the project been completely turned around - whites teaching blacks how to dance - would it have brought up racial issues as effectively, or might it be taken differently and even considered racist?
2. Thesis: Adrian Piper's Funk Lessons provide a way for racial issues to be confronted in a positive, voluntary manner.
Thesis 2: Through dancing, whites are able to come to terms with personal racial issues from their past, as well as learn the intricacies of funk music.
3. "We were all engaged in the pleasurable process of self-transcendence and creative expression within a highly structured and controlled cultural idio, in a way that attempted to overcome cultural and racial barriers" (131).
Piper's funk lessons would often begin with the introduction of basic dance moves to the audience, as well as the discussion of their cultural and historical meanings.
By placing this group of whites outside their comfort zone, Piper's funk lessons effectively brought to light issues of race.
Although the project was somewhat successful, it also upset many blacks who believed that funk should not deem the title of 'high culture.'
Piper's funk lessons could have had a more successful impact on the audience, perhaps, had the project forced more racial dialogue.
Today, hip-hop has been infused into white culture a lot more than in the past, thus posing the question of how the same type of project would be effectively constructed today.
Unlike Damali Ayo's panhandling project, Piper's lessons did not have the intent of forcing guilt, but rather had a positive impact.
Had the project been completely turned around - whites teaching blacks how to dance - would it have brought up racial issues as effectively, or might it be taken differently and even considered racist?
2. Thesis: Adrian Piper's Funk Lessons provide a way for racial issues to be confronted in a positive, voluntary manner.
Thesis 2: Through dancing, whites are able to come to terms with personal racial issues from their past, as well as learn the intricacies of funk music.
3. "We were all engaged in the pleasurable process of self-transcendence and creative expression within a highly structured and controlled cultural idio, in a way that attempted to overcome cultural and racial barriers" (131).
Tuesday, October 30, 2007
1. Adrian Piper's Funk Lessons
B. In today's society, hip-hop has been infused into white culture a lot more than in the past. Would the same type of experiment today cause the same dialogue?
Are racial issues more likely to be voluntarily discussed if it seems like that is not the primary intent of the experiment? i.e. by easing into it with the funk lessons.
Tres. Sources:
Adrian Piper
from New York Times, Jan. 12, 2002
Adrian Piper: Generali Foundation, Vienna
from Art Monthly no. 259 (September 2002) p. 30-1
Adrian Piper : a retrospective / [exhibition organized by] Maurice Berger ; with contributions by Jean Fisher ... [et al.]
Participation by Claire Bishop
B. In today's society, hip-hop has been infused into white culture a lot more than in the past. Would the same type of experiment today cause the same dialogue?
Are racial issues more likely to be voluntarily discussed if it seems like that is not the primary intent of the experiment? i.e. by easing into it with the funk lessons.
Tres. Sources:
Adrian Piper
from New York Times, Jan. 12, 2002
Adrian Piper: Generali Foundation, Vienna
from Art Monthly no. 259 (September 2002) p. 30-1
Adrian Piper : a retrospective / [exhibition organized by] Maurice Berger ; with contributions by Jean Fisher ... [et al.]
Participation by Claire Bishop
Sunday, October 28, 2007
Naming Others: Manufacturing Yourself
Robert Peters and Mushroom Pickers, Ghosts, Frogs and other "Others" designed a project for "Culture in Action," a Chicago based grouping of public art, called Naming Others: Manufacturing Yourself. Culture in Action brought about a reversal of what many considered public art by truly incorporating the audience in the artwork itself by either making them the subject of the art, or having them be the producers of it.
These "issue-specific artworks are a form of artmaking that grows out of the desire of artists to reach audiences in ways that are more direct and unexpected than is possible in a museum or gallery setting." In other words, it took the emphasis off site-specificity and placed it rather on audience-specific concerns. Ironically, Naming Others: Manufacturing Yourself has no site at all. This piece of public art is produced by having the public call a toll-free telephone number in which they can then choose subcategories such as race, sex, gender, occupation, etc. to hear derogatory slang that pertains to each category. The artwork was designed to force local Chicagoans to confront their prejudices by first having them complete a survey by writing down as many slang terms that they have heard pertaining to each subclass that would then be incorporated into the list of slang presented in the telephone number.
Peters decided to do this project because he believed that no matter how unpleasant these terms might be, they are still a large part of the Chicago culture.
These "issue-specific artworks are a form of artmaking that grows out of the desire of artists to reach audiences in ways that are more direct and unexpected than is possible in a museum or gallery setting." In other words, it took the emphasis off site-specificity and placed it rather on audience-specific concerns. Ironically, Naming Others: Manufacturing Yourself has no site at all. This piece of public art is produced by having the public call a toll-free telephone number in which they can then choose subcategories such as race, sex, gender, occupation, etc. to hear derogatory slang that pertains to each category. The artwork was designed to force local Chicagoans to confront their prejudices by first having them complete a survey by writing down as many slang terms that they have heard pertaining to each subclass that would then be incorporated into the list of slang presented in the telephone number.
Peters decided to do this project because he believed that no matter how unpleasant these terms might be, they are still a large part of the Chicago culture.
Sunday, October 21, 2007
"Video and Resistance: Against Documentary" discusses photography and its eventual evolution into film and subsequently, documentaries. According to the reading, photography, although used to help present a history of the past, does not allow for interpretation. It presents a purely unbiased image by showing only reality. Documentaries, however, if produced correctly, can include bias subtly enough to make the viewer still believe that what he or she is viewing is strictly reality. One possible adjustment to the making of documentaries would be to include a disclaimer stating that this is only a "version" of the subject matter, and not the actual event itself.
Sontag has a somewhat different view of photography. In her opinion, photography is used strictly to show traces of history; to only reveal truth. On the other hand, Sontag would agree with this reading in the sense that our society is visually oriented and tends to believe images that they see represent reality. "Video and Resistance: Against Documentary" mentions that documentaries have the power to manipulate viewers' interpretation of the work.
Sunday, October 14, 2007
Pierson Trimarchi
7 October 2007
7 October 2007
Fund Superfund!
Superfund, though well intentioned, has ironically run out of funds. Today, the government run program designed to clean up areas polluted by industrialization is placing the burden on the taxpayers. Superfund's original philosophy was to make the polluter pay, but that is leaving many sites unattended. Also, finding out who is responsible for the pollution is a time and money consuming process that is bringing little progress. Now, since Congress has not renewed the funds, taxpayers are no longer paying for 18 percent of the program, but a staggering 53 percent (Knickerbocker). This is also due to the fact that Superfund can no longer tax chemical and oil companies because most of the pollution today is not a result of their doing. Although Superfund will undoubtedly continue into the future, a more efficient way to collect the money it requires from those responsible for pollution should be found.The Superfund cleanup process is complex. It begins with determining which sites require attention by citizens, state agencies, or EPA Regional offices. The EPA is then notified and enters the site into the Comprehensive Environment Response, Compensation, and Liability Information System (CERCLIS), EPA's computerized inventory of potential hazardous substance release sites. The EPA then evaluates whether or not immediate action needs to take place, ranks the site by placing it on a National Priorities List, and orders appropriate plans for the remediation of the site (Superfund | US EPA).
The Superfund program is responsible for cleaning the nation’s most polluted toxic sites. Since the beginning of the program, more than 45,000 hazardous sites have been identified with 1,500 of them classified as Superfund sites (Take Action - U.S. PIRG). One of the sites requiring serious attention is right here in Central New York. Onondaga Lake has been one of the most polluted lakes in the United States since the Industrial Revolution. During the late 19th and early 20th century, as industrialization grew, so did the amount of pollution being dumped into Onondaga Lake. By 1940, the lake was considered unsafe for recreational swimming, and by 1970, fishing was no longer allowed on the lake (Onondaga Lake Partnership). Without the money required to seriously alter this pattern of pollution in the mucky lake, Superfund’s efforts will be futile.
In 1884, the Solvay Process Company placed a factory on the western shore of Onondaga Lake. The disposal of the factory’s cooling water severely effected the chemical and physical properties of the lake. These discharges “increased water temperatures, upset the natural process of stratification that typically occurs in lakes, and served to increase phosphorus levels in the lake” (Landers 64). For every 2.2 pounds of product that the Solvay Process Company produced, 2.2 pounds of calcium chloride and 1.1 pounds of sodium chloride were created (Landers 64). These ionic wastes have since built up and now extend about 2,000 feet into the lake and 4,000 feet along the shoreline (Landers 65). In 1979, the company, now known as Linden Chemicals, started generating new wastes, equally or more hazardous than before. These wastes included: mercury, polychlorinated biphenyls, and chlorinated benzenes; all of which are toxic, or carcinogenic to humans and fish (Landers 65). Shouldn’t the release of such harmful wastes into a lake surrounded by a well populated city be considered neglectful, or even criminal?
With such chemical companies clearly responsible for pollution, why is Superfund no longer forcing them to shoulder most of the blame and pay for the remediation? The unfortunate wording of the law calls for “joint and several liability,” meaning that all polluters, no matter how remote their involvement, can be held accountable for the complete cost of repair (Knickerbocker). Thus, the EPA tends to spend most of its money on lawyers, consultants, private investigators, and administrative overheads to search for and investigate companies that may or may not be liable for the pollution. By doing so, none of the money is going towards the actual cleanup of severely polluted sites like Onondaga Lake.
In 1995, the “polluter pays” fees expired. Since then, “appropriations for critical cleanup actions have declined by 32%, creating persistent funding shortfalls that threaten the cleanup capabilities of the Superfund program. Since 2003, funding shortfalls have ranged from $100 to $300 million per year” (Take Action - U.S. PIRG). Superfund’s progress has been slowed due to this lack of funding. In fact, since 2003
the Bush EPA has cleaned an average of 40 sites per year, compared to an average of 87 sites per year in the late 1990s. In addition, the number of sites not receiving any cleanup money continues to rise, contributing to a general cleanup slowdown that increases total cleanup costs and unnecessarily threatens human health.
Take Action - U.S. PIRG
One possible solution until more funding can be given is for the EPA to only take action against the companies most responsible for the pollution and have them pay for the majority of the remediation. This would call for the elimination of joint and several liability. By doing so, money will not be wasted while trying to hunt down all of those who may be only remotely responsible for the pollution of the lake. That way, the “polluter pays” ideology will be reinstated, but not with the money and time consuming method used prior to 1995. Superfund also has the authority to make companies who are responsible for the pollution of the lake clean it up themselves, thus reducing some of the cost of the burdensome cleanup process. By cost effectively finding the companies most responsible, Superfund will be able to use the majority of its dwindling funds to actually clean up sites and develop even more cost efficient cleanup methods.
Tuesday, October 9, 2007
Tuesday, October 2, 2007
Superfund
Superfund, although well intentioned, has ironically run out of funds. Today, the government run program designed to clean up areas polluted by industrialization is placing the burden on the taxpayers. Superfund's original philosophy was to make the polluter pay, but that is leaving many sites unattended. Also, finding out who is responsible for the pollution is a time and money consuming process that is bringing little progress. Now, since Congress has not renewed the funds, taxpayers are no longer paying for 18% of the program, but a staggering 53%. This is also due to the fact that Superfund can no longer tax chemical and oil companies because most of the pollution today is not a result of their doing. Although Superfund will undoubtedly continue into the future, a new source for the money it requires must be found.
Superfund information
Superfund information
Sunday, September 30, 2007
Anti-War Lecture
Last night, I attended the 7:30 anti-war lecture at Hendricks Chapel. Since I did not attend the march that preceded it, I had no idea what these organizations were about. I have been to a few different protests and anti-war rallies before, however, so I didn't think anything would be too surprising. Upon entering, however, I was greeted by a caricature of Uncle Sam holding up anti-war signs, a blind congressman holding bags of money, and an injured veteran sitting in a wheelchair in uniform.
As I entered the chapel and sat down, the crowd, was entertained by two women playing acoustic guitars performing anti-war music. This gave me a completely different impression of what was to come than what actually did. I was worried what I had gotten myself into, thinking that this would be followed by hippie upon hippie boring me with cliches like "make love, not war." However, when Dahlia Wasfi, Jim Massey, and Scott Ritter began their speeches, I was very much relieved to discover that this would not be the case.
Dahlia Wasfi, who lived in Iraq under Saddam Hussein's rule, and Jim Massey, a weapons inspector in Iraq from 1991 to 1998, talked mostly about the Petreaus report. They pointed out that Iraq was better off before our occupation, and the fact that the report does not mention US occupation.
What really interested me, however, was Scott Ritter's speech. Scott Ritter, a pro-soldier, anti-war activist, as well as a veteran, was involved in the shooting of innocent Iraqi's. At the time, the order was to shoot first and ask questions later. The fact that even troops in Iraq are against the war really says something. Being a veteran, and speaking out against the war, Scott has been able to sway the thoughts of many people on the issue.
During his speech, Mr. Ritter discussed his plan for what Americans should do to help fix the situation. Although the following six points are easier said than done, the plan that he discusses sounds like the only solution for remedying the quagmire America has gotten itself into. The six point plan consists of: 1. withdrawing the troops, 2. turning over responsibility to Iraq, 3. paying for the damage we have caused, 4. recognizing the war court, and turning over all who are responsible for starting the war, 5. giving back profits corporations have made, and 6. voting out of office every congressman who supported the war. Despite some of this being pie in the sky thinking, it seemed to be the only way to effectively alleviate the situation.
The night concluded with some Q&A with the audience. Overall, I felt that the event was well done, and a good experience.
As I entered the chapel and sat down, the crowd, was entertained by two women playing acoustic guitars performing anti-war music. This gave me a completely different impression of what was to come than what actually did. I was worried what I had gotten myself into, thinking that this would be followed by hippie upon hippie boring me with cliches like "make love, not war." However, when Dahlia Wasfi, Jim Massey, and Scott Ritter began their speeches, I was very much relieved to discover that this would not be the case.
Dahlia Wasfi, who lived in Iraq under Saddam Hussein's rule, and Jim Massey, a weapons inspector in Iraq from 1991 to 1998, talked mostly about the Petreaus report. They pointed out that Iraq was better off before our occupation, and the fact that the report does not mention US occupation.
What really interested me, however, was Scott Ritter's speech. Scott Ritter, a pro-soldier, anti-war activist, as well as a veteran, was involved in the shooting of innocent Iraqi's. At the time, the order was to shoot first and ask questions later. The fact that even troops in Iraq are against the war really says something. Being a veteran, and speaking out against the war, Scott has been able to sway the thoughts of many people on the issue.
During his speech, Mr. Ritter discussed his plan for what Americans should do to help fix the situation. Although the following six points are easier said than done, the plan that he discusses sounds like the only solution for remedying the quagmire America has gotten itself into. The six point plan consists of: 1. withdrawing the troops, 2. turning over responsibility to Iraq, 3. paying for the damage we have caused, 4. recognizing the war court, and turning over all who are responsible for starting the war, 5. giving back profits corporations have made, and 6. voting out of office every congressman who supported the war. Despite some of this being pie in the sky thinking, it seemed to be the only way to effectively alleviate the situation.
The night concluded with some Q&A with the audience. Overall, I felt that the event was well done, and a good experience.
Sunday, September 9, 2007
Photosynthesizing War
The Binh Danh exhibit at the Light Work gallery was very haunting. Had Danh printed the pictures on a more formal medium, their impact would have decreased severely. Something about the faces of the victims of war trapped in leaves and grass brings the effects of war home. It brings the observer directly into the setting, despite the years that have passed. It serves as a testimony about the Viet Nam war in this way, by also showing that the jungle itself still holds the effects of this war. This theme of remembering the dead and the atrocities of war also reflects our current times and the war we face today.
I thought that this exhibit was very successful, by making use of the leaves and grass. By doing so, Danh seemed to take the emphasis off of the picture itself, and more onto the medium. This brought about a new sensation while viewing the exhibit. Sontag claims that "photographs are a way of imprisoning reality" and that "one can't possess reality, one can possess (and be possessed by) images." These photographs of the soldiers, whose souls' are forever "imprisoned" in the jungles in which they fought, eerily possess us and make us aware of the effects of war.
I thought that this exhibit was very successful, by making use of the leaves and grass. By doing so, Danh seemed to take the emphasis off of the picture itself, and more onto the medium. This brought about a new sensation while viewing the exhibit. Sontag claims that "photographs are a way of imprisoning reality" and that "one can't possess reality, one can possess (and be possessed by) images." These photographs of the soldiers, whose souls' are forever "imprisoned" in the jungles in which they fought, eerily possess us and make us aware of the effects of war.
Monday, September 3, 2007
After struggling to understand de Duve's thoughts on art, I have adopted the idea that art is everything that people deem art. One of my most memorable experiences I have had with an art work happened very recently. Over the summer, I visited Mass MoCA (Massachusetts Museum of Contemporary Art) with my dad. Their entire first floor was an exhibit by Spencer Finch, called "What time is it on the sun?" Clearly by the title, all of his art works centered around perspective. Although I found all of his works interesting, one really struck me as the epitome of his exhibit. Finch had taken large pieces of paper, and painted a little colorful blob in the corner, or off to the side on each piece. The blobs somewhat resembled butterflies. He painted them after looking at pictures of butterflies, but only viewing them in his peripherals. So if the viewer were to stare at the center of the paper, rather than at the blob itself, he or she would see the butterfly like blob in their peripherals as he saw the actual picture. It is hard to explain without actually showing an example, but the concept of perception was strong in this exhibit. It made me think about how all art can be perceived differently, and should be viewed in more than one way before forming an opinion about it. This butterfly piece was successful in making the viewer realize the different views one could take on each piece of "art."
de Duve's numerous points of view on art, varying from a Martian's, to your own, seem to stress one important fact; art has no one definition. Art means something different to each individual, because each person brings to the table their own personal experiences, and professional views. Personally, I believe art is something that should make one think, and perhaps draw on their own experiences and ultimately create a new emotional experience, or realization. Even that probably isn't sufficient. Art is always changing, and thus the definition of art should never be a constant. As art changes, and the people who view, and create art, changes, and society, and experiences within the society change, so should the definition of art.
de Duve's numerous points of view on art, varying from a Martian's, to your own, seem to stress one important fact; art has no one definition. Art means something different to each individual, because each person brings to the table their own personal experiences, and professional views. Personally, I believe art is something that should make one think, and perhaps draw on their own experiences and ultimately create a new emotional experience, or realization. Even that probably isn't sufficient. Art is always changing, and thus the definition of art should never be a constant. As art changes, and the people who view, and create art, changes, and society, and experiences within the society change, so should the definition of art.
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