The last time i rode a bike in San Francisco was in 1996 when i was here for the Cycle Messenger World Championships. Since then the city has changed a lot, and while much of that change has not been for the better, when it comes to cycling things have improved a lot.

In 1996 bike messengers where pretty much the only ones cycling and as a cyclist you had to fight for your space on the road which was pretty much constantly challenged by ignorant/agressive motorists. These days the city is full of well marked bike lanes and the majority of motorists seem to treat cyclists with respect. The bike lane system is pretty remarkable with dedicated bycicle only shortcuts and clear indications on many streets that cyclists have the right to use a full lane. Combined with Google maps that skillfull routes you around the most challenging hills this makes for a really cycling freindly city and there are actually a lot of cyclists in the streets.

Over the past few days i have been criss-crossing the city on JUMP shared bycicles. The JUMP fleet of shared bycicles is brand new (the seem to be on the streets since earlier this month) and what sets them apart from other shared bikes is thier build quality and (more importantly) the fact that they are pedal assited electric bikes¹. The bikes come with a electric motor that kicks in as you pedal and provides more power the harder you pedal. This makes for an extremely fun ride and a super fast way to get across town. The electric motor makes the most difference when going uphill which is a pretty effortless affair on one of these bikes. In fact going up hills is so easy that it constantly felt like cheating compared to my earlier adventures in this city and especially when you are passing a ‘real’ cyclist who is struggeling to climb up a hill.

These JUMP bikes are the most convincing implementation of a bike share programme that i have encountered yet. Clearly a lot of care went into both the design of the bikes and the overall system². The bikes feel very solid and are fun to ride (in part due to the fact that they also have excellent brakes). Still i have my doubts that these bikes will indeed last for the three to five years that JUMP expects them to last. While the bikes feel rock solid at this point they have been in use for less than a month and i already had some minor hickups with the 3 speed rear hub which feels as if these will break relatively quickly. I also have my doubts regarding the exposed front disc brake which seems destined to come loose sooner rather than later.

It seems to me that at this stage the idea that these bikes can do with “a yearly check-up” is a little bit premature, but these weak spots shouldn’t be difficult to fix (go single speed and shield the front caliper assembly). All in all these bikes show that the shared micro mobility space is maturing and that a well-designed bike share system can really add to a city.

On the 16th of July 2015, a couple of hours before flying back to Amsterdam i rented a car in downtown Washington D.C and drove for a about an hour to Warrenton, VA to take a photo of a residential property located on one of the main thouroughfares of the small town:

So what triggered my interest in this rather unremarkable building in an unremarkable town? The house on Waterloo Street was home to HCR international, a company that since 1998 has been managing the copyright in the works of the Dutch born artist Piet Mondrian (1872 - 1944). As a result the name of the company featured prominently in the copyright notices alongside reproductions of the works of Mondrian on Museum websites and exhibition catalogues all over the world.

I had developed an interest in HCR international when we were working on the “Wiki loves Art/NL” publication in 2010. During the work on the book i became aware of the somewhat dubious reputation that a certain Hillary Richardson (presumably the H and the R in HCR international) had among museum curators who dealt with works by Piet Mondriaan. Apparently Ms Richardson was rather demanding when it came to providing permission for preproductions of Mondrian’s works. Not only was she known for asking high royalty rates (see this 2015 NY Times article for examples), she was also known to be very specific with regards to the copyright notices. According to a 2011 art magazine article, HCR generally demanded that copyright notices are placed vertically alongside any reproductions, that Mondriaan name must be written with one ‘a’ (the original Dutch spelling is with ‘aa’). Evidence from around the web also seems to indicate that she insisted that HCR international is named in all copyright notices.

So how did the copyrights of the most famous 20th century artist from the Netherlands end up in a residential house in Warrenton, Virginia? Like many other artists from continental Europe, Mondriaan had to flee from the Nazis. During a short stay in Paris in 1934 he became friends with the American artist Henry Holtzman. In 1940 Holtzman arranged for Mondrian’s passage from London to New York City, where he rented an apartment-studio for Mondrian. During the next three and a half years he was one of Mondrian’s most intimate associates.

When Mondriaan died of pneumonia in 1944 he willed his estate (including the copyrights) to Holtzman. Holtzman continued to live for a considerable period but eventually died in 1987. His estate, including the Mondriaan copyrights, fell into the hands of his three children, who set up the Mondrian/Holtzman trust. In 1999 they hired the art historian Hillary Richardson to manage the copyrights on behalf of the trust and, as a result, from 1999 onwards HCR international managed Mondriaan copyrights from the House in Warrenton, VA.According to its website (2015 version), the Mondrian trust…

… aims to promote awareness of Mondrian’s artwork and to ensure the integrety of his work. We intend to carry forward his legacy and influence a new generation of artists by managing and encouraging copyright use for Mondrian’s artwork. The trust grants licenses and copyright permissions to those whishing to reproduce Mondrian’s images.

In reality, as evidenced by the way that Ms Richardson operated, it is fairly clear that HCR international was not primarily concerned with Mondrian’s artistic legacy and integrity but rather interested in bringing in licensing revenue. In an email exchange between Ms Richardson and me in 2010 she declined an to contribute to our publication because “Mondrian is keeping me very busy!”.

Things changed when the Mondriaan copyrights expired on the 1st of January 2015. When i contacted Ms. Richardson again in early 2015 to see if she would be willing to talk about how  the fact that Mondriaan’s work was now in the Public Domain, she declined pointing out that because of the expiration of the Mondriaan copyrights, she was no longer working for the trust:  

Dear Paul Keller, Thank you for your inquiry. Due to the expiration of Mondrian’s copyrights worldwide–except for many in the US and in Spain, I decided not to renew my contract with the Mondrian Trust for the limited rights. That has given me the opportunity to consult for a producer of educational art apps and to use myart historical background researching works in private collections here in Washington, many of which span several centuries and cultures. They are new and rewarding challenges after 16 years working withMondrian’s incredible images …

That email was singend off with a new adress for HCR international:

HCR International 4100 Cathedral Avenue Washington DC

So when i visited the house on 85 Waterloo street in July 2015 both the Mondriaan copyrights and HCR international were no longer residing there. Still, looking at the house on that hot summer day, I could not stop but wondering how Mondrian, the 20th century icon of modernist abstract art, would had felt knowing that more that half a century after his death his copyright would be administered from a small residential property in rural Virginia.

More pictures of the house and Warrenton, VA in this flickr album

In retrospect the whole process of actually getting to experience Alejandro G. Iñárritu’s situated VR installation CARNE Y ARENA at the Fondazione Prada in Milano now looks like a privileged white man’s version of what the protagonists of the installation have gone trough: The almost overwhelming uncertainty if i would ever manage to get there (the result of overwhelmed web servers that could not keep up with the demand for the microscopic amount of tickets available), the realisation that a group only travels as fast as it’s weakest members (an object lesson taught by a group of Filipino women who boarded the flight to Milano with way too much carry on luggage causing the worst boarding mess that i ever experienced) and the ability of those whom you have entrusted with your fate to extract extra compensation (the taxi diver who needed to be bribed into accepting payment by credit card).

While CARNE Y ARENA is primarily described as a possibly genre-defining Virtual Reality experience, the actual VR element (as in the 3D environment projected through the headset) is probably the least interesting bit of it, even though the cinematography is stunning and the choreography of the actions unfolding around you is equally master-full.

Rather it is the use of the supporting sensory triggers that both makes and breaks the illusion created by the VR headset (the whole experience was probably helped by the fact that as a result of my hurried attempts to get there in time i was thirsty for the duration of the experience): The coldness in the holding cell crates a feeling of being out of control that primes you for the desert scene. The cold, rough desert sand and the unidentifiable scent immediately situate you in the desert. As long as you are “alone” in the desert (and later during the helicopter overpasses) the wind machines complete the illusion created by the VR headset.

Once the exhausted migrants appear the illusion starts getting strained. For me this had little to do with the the fact that they were clearly identifiable as rendered characters (as the Verge complains), or even the fact that you could walk into the characters (according the NYT review this seems to be a feature that i did not recognise as such) but rather the fact that i was unable to physically relate to them within the parameters of the simulation. As the group came under attack by the border patrol my urge was to get closer to the other protagonists and to somehow protect or comfort them. But my attempt to hold on to the foot of a frightened child broke the simulation as there was noting to touch and no-one i could comfort.

In the end the very limitations of the simulation amplify the message. Regardless how much i wanted to identify with the the harassed group of migrants, and as much as i experienced the sensory overload of being alone in the dark desert at the mercy of armed men, the limitations of the technology reminded me of my real status as a distant observer. That divergence between your desire to relate, fuelled by the state of the art manipulation of your senses and your inability to completely escape your situated-ness in the real world creates (or at least it created for me) a very profound understanding what it means to be the other (in this case one of the migrants).

Contrary to what i had expected it is not the technical perfection of the installation that constitutes the empathy machine, but the fact that you are reminded that you are indeed only “virtually present” that delivers the message. As confronting as the last scene, where the simulation finally acknowledges your presence and the border patrol officer approaches you shouting and with his assault rifle aimed at you, may be, it was the fact that i could simply leave that brought home the point that for the migrants this option does not exist.

Still, leaving the desert scene left me shell shocked and i spend a long time watching the video testimonials of the migrant protagonists in the decompression room that constitutes the last part of the experience. It is impossible to tell if these were so captivating because of the state i was in or because of the fact that i was alone with them or because of the accomplished videography and performance or because of all of these aspects combined.

In the end the most interesting question is how this way of story telling can ever scale in any meaningful way. The way it is set up in Milano (individual 15 minute slots) the total capacity is somewhere around 5000 visitors in half a year. There are currently 3 instances of CARNE Y ARENA (the other ones are im Mexico City and in Los Angeles) which seems utterly insufficient to reach anyone beyond a very determined part of the global cultural elites, who are likely the ones who are least challenged in their belief systems by the urgent social message encoded in this technological masterpiece. It is not me who needed the exposure to the desperate realities of migrants fighting for their dignity under the conditions of massive global disparities, rather it is someone my above mentioned taxi driver (who was not even aware of the fact that the Prada foundation is a Museum and not the seat of the eponymous luxury goods company).

From the novel I am currently reading:

Back in his hotel room he remembered that Mohammed Atta , the famous World Trade Center hijacker, had been a student of urban planning in hamburg in Germany. Was there a connection between the two things – terror and planning? It was possible. Atta in his religious way, had wanted the perfect religious city &emdash; his thesis was on Aleppo in Syria. In the end though his urge to design took a different form &emdash; het took down the twin monstrosities of the towers over Manhattan, and there, in a single day he accomplished what no other planner could have, erasing the cold shadows of those vile boastful buildings of the sun-filled streets of the city.

While “the association of small bombs” is a work of fiction it appears that the fact that Mohammed Atta has indeed written his thesis on Aleppo is not. Given this the recent events in Aleppo, which have lead to the almost complete destruction of the city, feel like the completion of a circle of violence that has been started by Atta and his companions on 9/11¹. It is probably vain hope to expect this to be the end of the circle, but with the whole geo-political situation changing quite dramatically, nothing seems impossible these days.

When I went to sleep yesterday night I was expecting my daughters Yuki and Mika to wake up in a world where three of the most powerful persons are women. Instead, we woke up to a world in which a misogynistic, ignorant, racist, fear-monger was elected to be the next president of the United States of America. That makes it pretty likely that they will grow up in a world that is considerably worse than the one I grew up in.

2nd breakfast of the morning: double espresso + vodka shot

But this is not about my daughter’s role models (we will find others), this is about the end of an era. Most directly Trump’s victory will affect the US. While this can play out in many ways, it is hard to imagine a way in which this will not cause a lot of hurt to the most vulnerable people in society: (undocumented) immigrants, minorities and generally all those who can’t or don’t want to come up for their own interests at the expense of others.

Trump, and more importantly the extremist right wing networks and strategists who have enabled success, will have the full political apparatus (both houses of congress, the presidency and the supreme court) aligned to turn back progress that has been made over the last decades. America will become a worse place to live for lots of people, and that fills me with dread.

Even worse, Trump will inherit the targeted assassination machine built and employed mercilessly by President Obama¹. From the perspective of those killed and maimed by drone strikes and other assassination methods it does not really matter if the strike was authorised by Obama or Trump, but it does not take a lot of imagination to fear that President Trump will be even more indiscriminate in unleashing the hellfires.

An uncertain future for Europe

Closer to home, Trump has questioned the traditional security alignments between the US and Europe. At the same time he has shown remarkable affinity with the Russian President Putin. If this leads to a strategic new alignment between Russia and the US this may very well have far-reaching consequences for peace and stability in Europe. Much of the uncomfortable but peaceful co-existence between the European neighbours of Russia and Russia itself is based on military hegemony of the US that is backing us up. We may soon find ourselves in a drastically different environment characterised by a degree of instability and danger that is unknown to most of the European people of my generation (with the exception of those who witnessed the self-destruction of Yugoslavia from close by).

It also looks pretty certain that the era of free trade fundamentalism will come to an end. TTIP & TTP are effectively dead as of this morning 08:29 CET and while that is not necessarily a bad thing, it makes me wonder whether the system that put free trade ahead of pretty much all other considerations will be replaced by something better. I have been somewhat hypocritical in enjoying the perks of being in a privileged position of the ever more interconnected world produced by this system, and I can’t really imagine being thrown back in a world that is much more focussed on nation states, but this seems to be where we are heading.

Standing up against populism at home

Closest to home, the most worrying thing about this morning were the triumphant tweets of Geert Wilders (the racist and nationalistic populist who fancies himself the equivalent of Trump over here) in which he predicts to “win back the Netherlands“. If we have learned one lesson this year it is that we have to treat a Wilders’ victory during next year’s election as a very real possibility.

While most of the developments I have described are out of my realm of influence, this morning made something crystal clear for me: If we do not start doing everything we can to prevent a Wilders’ victory from happening, we have only ourselves to blame and then we will be in even deeper shit when we wake up on 16 March 2017.

Here is a suggestion for a bit of summer reading: The first thing that you need to read (in order to polish up your knowledge of the water rights issues connected to the Colorado river, a.k.a the law of the river) is this New Yorker article from back in may: Where the River Runs Dry – The Colorado and America’s water crisis by David Owen.

Once you are done with this you need to aquire a copy of Paulo Bacagalupi’s new novel The Water Knife and find yourself a place with a swimming pool full of crystal clear water and amper supplies of bottled spring water (you can of course read this book in any other setting, but it is much more enjoyable that way). If you want to maximize your reading pleasure/guilt even more you should also make sure that you have a bowl of pistachio nuts at hand.

So why the swimming pool and the bottled water? That is because The Water Knife is set in a dystopian near future where the lack of water has lead to ecological disaster, civil war like unrest and massive human suffering in American south west. States like Texas have become uninhabitable with their populations fleeing into neighbouring states which try to keep the refugees away while struggling to provide water for their own populations. Against this backdrop powerful water barons fight over water rights that grant them the rights to tap water from the Colorado river to provide water for giant, fully enclosed private real estate projects. The novel follows the story of an enforcer of one of these water barons (a so called ‘water knife’) as he becomes entangled in a mesh of conspiracy and mistrust in the dying city of phonic, Arizona.

For me The Water Knife excels both at creating a credible near term dystopia and as a thriller (i even liked the ending which is a rare thing with thrillers).

To increase your reading pleasure i would suggest that once you are about two thirds through the book (around chapter 39 or so) you take a break and listen to episode 640 of NPRs planet money podcast: The bottom of the well, in which the planet money team examines the economic effects of the current drought in California. As i listened to the podcast i was rather surprised to find out that some of the elements of Bacagalupi’s novel (public relief pumps, water consultants hawking state-of-the-art technology to reach deeper and deeper into dwindling aquifers) are already a reality in parts of California.

The planet money episode makes it painfully obvious how our economic system (a.k.a. capitalism) is set up to create the economic incentives to deplete scarce water resources in drought stricken areas for private gain (this is the moment where you want to reach for a hand full of pistachio nuts) and is possibly the most vivid explanation of the concept of the tragedy of the commons that i have come across to far.

On monday during my short trip to Qatar i had breakfast with Joe Lieberman¹. to be precise ‘having breakfast’ is a bit of an exaggeration here, but i was sitting at the table next to the table where Senator Lieberman and seven of his aides were having breakfast.

Interestingly my table was within hearing distance and so i could pick up most of the conversation that was unfolding at the table next to mine. Conversation is a bit of a big word here. What was gong on at the other table was more of a briefing: a couple of (rather young) US diplomatic staffers gave the senator an introduction to Qatar and the he was asking a couple of rather simple questions in return.

What was interesting about of this was not so much the subject or the contents of the briefing but the way how these diplomatic staffers described the country of Qatar. Instead of describing specific qualities the country they almost exclusively described how certain aspects of the country compared to other countries in the region: instead of saying that Qatar has a relatively well developed set of banking regulations they would say that the banking regulations in Qatar are better developed than those in Saudi but less developed than those of the Emirates. This style of relaying information went on for the entire 20 minutes or so that i cold listen in to their conversation: Everything was presented in relation to other countries in the region (‘more liberal than Saudi Arabia’, ‘more oil reserves that the UAE’, ‘more stable than Bahrain’, etc.)

Now describing a country according it’s relative position within a region probably is an extremely accurate way of doing so. On the other hand it also assumes that the person you are briefing has a good understanding of the absolute characteristics of those other countries (‘i.e ho politically stabel is bahrain?) and it also strikes me as somewhat disrespectful (which is probably a bad idea if you are describing a country that owns your own Embassy in London) since it implies that the country in question does not possess any noteworthy characteristics by itself.

Update 28.1.2011: boing boing has a post what shutting off the internet looks like (in egypt) that contains this image.

For some reason this photo had escaped my attention when i first viewed it back in march on the big picture’s edition covering the drug war in mexico. fortunately it’s animal-like beauty did catch Bryan Finoki’s eye over at subtopia, who calls it the sand dragon:

What looks like some creature from a science fiction movie is actually part of the border fence that is being erected by the US along the border with Mexico. This particular stretch covering 7 miles of in Imperial [sic!] County in California is called the floating fence. The fence is constructed to float on top of the sand dunes that cover the south eastern part of Imperial County:

[US Border Patrol] Agent Michael Espinoza said unlike other border fences, this one moves. “It’s just amazing, the concept of a floating fence here in the sand dunes that can just be picked up and settled back down,” Espinoza said. […] The concept is simple. As sand builds up along its edges, sections of fence can be lifted by a machine and placed back on top of the sand, so the fence never loses its height. “I personally have never seen a fence like this before,” Espinoza said. [KYMA Local News ]

What is probably intreagues me most about this shape shifting monster of steel is the fact that by the very nature of its design it will later the contours of the border between mexico and the US. being build on top of moving sand dunes means that the fence will move away from the border sooner or later. In this aspect it does not demarcate territory (as traditional border fortifications tend to do but it rather establishes an inside and an outside: the border itself becomes flexible in order to be able to enable exclusion. Bryan Finoki links the floating fence to his concept of the nomadic fortress, a permanently reconfiguring regime of access control that divides the functioning capitalist core of the global economy from the global south:

This space has no regard for borders any more as we traditionally understand them, no respect for national territory; it hovers over and slips between those definitions, goes around and under them when it needs to, ultimately passing through border fixity as it sees fit. It is in some way the final border, a border that is never at rest but is always modifying itself for greater tactical vantage; a kind of flexible mock-hydrological regime that deploys and aligns other sub-border levers and valves below it to secure the conduits of neoliberal capitalism and the flows of people who are captives of them in one way or another. A structure that utilizes an entire atlas of border fences with a range of satellite technologies, web-based border vigilantes and extra-territorial floating prisons, to feed the border as a kind of geopolitical gutter space that siphons the subjects of migration off into a swollen infrastructure of detention where billions of dollars and are spent on their bounty.

It is a fully transitional geography of unsettled coordinates, excessive legality and perpetual legal suspension. This border doesn’t take the defensive posture that borders traditionally have in the past, but instead is on the move and on the hunt for a new class of would-be border crossers who’ve been bound together in a dangerously wide-cast surveillance net that is incapable of distinguishing the refugee from the enemy combatant, the migrant from the smuggler, laborer from insurgent. It is the border as the worst kind of political blur space. It is as immovable as it is fluid, like a sea of transparent blast walls crashing on the shores of geopolitical exile. [exceprted from: ‘Towards a Nomadic Fortress [Refuge/Refugee]‘]

We have had the deportation class and the deportation alliance but we never really had a proper deportation airline. Seems they have one in the US (land of the free?) though: The Wall Street Journal has a rather surreal article about ‘ICE air’ (ICE stands for U.S. Immigration and Customs Enforcement, an agency of the Department for Homeland Security). ICE air (officially they use ‘repatriation’ as a callsign) is a subsidy of the ICE and currently operates a fleet of 10 aircraft operating out of 4 US hubs. the airline primarily flies to latin america (‘three daily flights to guatemala city’) and exclusively transports deportees. The article portraits it as if it was just another airline and puts great stress on the service and comfort enjoyed by the deportees:

In-flight service is polite. “For a lot of these immigrants, it has been a long journey to the U.S.,” said Michael J. Pitts, chief of flight operations for deportations and removals at ICE. “This is going to be the last impression they have of the United States. We want to provide good service.”

[we could probably argue that this copies our deporation.class concept from almost 10 years ago, but then they seem to have failed to implement a ICE points system along the lines of the active miles loyalty programme].

What makes the article so surreal is the focus on efficiency and the constant comparisons to regular commercial airline operations [culminating in this info-graphic illustrating the hub and spoke concept] without ever touching the obvious question: what are these planes flying back to the US? Cocaine? Stranded US citizens on vacation? cheaply made goods from outsourced production facilities? Kind of reminds me of Darwin’s Nightmare…

On the other had the article also seems to suggest that these deportation flights are an important component of the migration systems between central america and the US: the inbound trip may cost you a substantial amount of money but your return tickets are free and you still get at lunch box containing ‘a bologna sandwich, potato chips, orange juice and a bag of carrots’

Excellent collumn by Matt Taibbi over at smirkingchimp.com on what the candidacy of Sarah Palin says about the state of American politics [read the whole thing is is worth it!]:

Here’s the thing about Americans. You can send their kids off by the thousands to get their balls blown off in foreign lands for no reason at all, saddle them with billions in debt year after congressional year while they spend their winters cheerfully watching game shows and football, pull the rug out from under their mortgages, and leave them living off their credit cards and their Wal-Mart salaries while you move their jobs to China and Bangalore.

And none of it matters, so long as you remember a few months before Election Day to offer them a two-bit caricature culled from some cutting-room-floor episode of Roseanne as part of your presidential ticket. And if she’s a good enough likeness of a loudmouthed middle-American archetype, as Sarah Palin is, John Q. Public will drop his giant-size bag of Doritos in gratitude, wipe the Sizzlin’ Picante dust from his lips and rush to the booth to vote for her. Not because it makes sense, or because it has a chance of improving his life or anyone else’s, but simply because it appeals to the low-humming narcissism that substitutes for his personality, because the image on TV reminds him of the mean, brainless slob he sees in the mirror every morning.

Sarah Palin is a symbol of everything that is wrong with the modern United States. As a representative of our political system, she’s a new low in reptilian villainy, the ultimate cynical masterwork of puppeteers like Karl Rove. But more than that, she is a horrifying symbol of how little we ask for in return for the total surrender of our political power.

Not only is Sarah Palin a fraud, she’s the tawdriest, most half-assed fraud imaginable, 20 floors below the lowest common denominator, a character too dumb even for daytime TV - and this country is going to eat her up, cheering her every step of the way. All because most Americans no longer have the energy to do anything but lie back and allow ourselves to be jacked off by the calculating thieves who run this grasping consumer paradise we call a nation.

(…) The great insight of the Palin VP choice is that huge chunks of American voters no longer even demand that their candidates actually have policy positions; they simply consume them as media entertainment, rooting for or against them according to the reflexive prejudices of their demographic, as they would for reality-show contestants or sitcom characters.

[smirkingchimp via boingboing]