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Terrain.Org Issue No. 24 : Fall/Winter 2009 : Borders & Bridges

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Terrain.Org Issue No. 24 : Fall/Winter 2009 : Borders & Bridges Terrain.org: A Journal of the Built & Natural Environments : www.terrain.org Issue No. 25 : Spring/Summer 2010 : PDF Version Contents Columns • Guest Editorial : “Virtually Unconscious: Dreams of Escape” by Renee Lertzman, Miller Postdoctoral Fellow in Humanities and Sustainability, Portland State University • The Literal Landscape : “Songbird” by Simmons B. Buntin, Editor/Publisher, Terrain.org • Plein Air : "Sharing the Edge of the Sixth Shore: Artists and Scientists Converge at Lake Clifton" by Deborah Fries, Editorial Board Member, Terrain.org • Bull Hill: "The BluRay Squirrel and the HighDef Squid" by David Rothenberg, Editor, Terra Nova (with online image gallery of northern forests) • A Stone’s Throw : “Winter Leaves” by Lauret Savoy, Editorial Board Member, Terrain.org Interview • “The Essential Values” : Patrick Burns interviews author Padma Viswanathan UnSprawl Case Study • Dockside Green in Victoria, British Columbia by Ken Pirie ARTerrain Gallery • Art Quilts by Jan Rickman Poetry • Sara Talpos : Three Poems with Audio • Karen Schubert : One Poem with Audio • Patricia Clark : Two Poems with Audio and Image Issue No. 25 : Spring/Summer 2010 : Virtually There 1 Terrain.org: A Journal of the Built & Natural Environments : www.terrain.org Poetry, continued • Erin Coughlin Hollowell :Two Poems with Audio • Abe Louise Young : Two Poems with Audio • Linda Umans : One Poem with Audio • Arianne Zwartjes : Four Poems with Audio • Jamison Crabtree : Three Poems with Audio • Sandy Longhorn : Two Poems with Audio • Matthew James Babcock :Three Poems with Audio • Robin Chapman : One Poem with Audio • Tim Bellows : One Poem • C. J. Sage : Three Poems with Audio • Paul Hostovsky : Two Poems • Lyn Lifshin : Two Poems • Deborah Fries : Three Poems with Audio • Carolyn Kreiter-Foronda :Two Poems with Audio and Images • Julie L. Moore : Two Poems with Audio • Hugh Fox : One Poem • Fran Markover : One Poem with Audio Essays • “How to Draw a Glass Mountain: Los Angeles and the Architecture of Segregation” by Aisha Sloan • “The Book of Water” by Joe Wilkins, with Audio • “The Road to Crownpoint” by Kurt Caswell, Illustration by Susan Leigh Tomlinson • “The Place and the Photograph” by Lex Runciman, with Stonehenge Photo Gallery • “Four Dispatches from the Interface” by Charles Goodrich, with Audio Fiction • “Machete Maneuvers” by Rachel Furey, with Audio • “The Glory of Ned Wiley” by Braden Hepner • “Holding Patterns” by Bette Lynch Husted • “Estrella, Extranjero” by Chavawn Kelley Articles • “Planning a Post-Carbon World: The City of North Vancouver and the 100 Year Plan” by Patrick Condon • “The Digital Cathedral in the Age of Democratic Sustainability” by Peter W. Bardaglio • “Isn't it Time to Dig Vertical Farming?” by Chris Bradford • “Open Data and Government 2.0” by Nate Berg • “Virtuality: The Splenda of Existence” by Rachel Shaw Reviews • “A Suburban Girl Considers the Farm” : Jennifer McStotts reviews The Seasons on Henry’s Farm: A Year of Food and Life on a Sustainable Farm, by Terra Brockman Issue No. 25 : Spring/Summer 2010 : Virtually There 2 Terrain.org: A Journal of the Built & Natural Environments : www.terrain.org Reviews, continued • “The Composition of Place” : Simmons B. Buntin reviews Animal Logic, by Richard Barnes, and Earth Forms, by Stephen Strom • “When the Rains Come, the Desert is Transformed” : Julie Wnuk reviews When the Rains Come: A Naturalist's Year in the Sonoran Desert, by John Alcock • “The Definition of a Classic” : Stephanie Eve Boone reviews Anne Frank: The Book, the Life, the Afterlife, by Francine Prose Issue No. 25 : Spring/Summer 2010 : Virtually There 3 Terrain.org: A Journal of the Built & Natural Environments : www.terrain.org Guest Editorial by Renee Lertzman, Miller Postdoctoral Fellow in Humanities and Sustainability, Center for Sustainable Processes and Practices and Portland Center for Public Humanities, Portland State University Virtually Unconscious: Dreams of Escape I found myself thinking about Sigmund Freud as I exited the theatre, where like millions of others, I had donned the plastic glasses and spent a couple of hours in an immersive virtual world of Avatar. Yes, I was enchanted by the visual textures and breathtaking virtual vistas, and the remarkable technological achievements of this film. But mainly, I was preoccupied with the way the film had grabbed me affectively, thrown me into an entirely imagined world, and forced me to struggle, as Jake Sully does, with the reality of my own frail, fragile, precarious, and imperfect world when the lights came up. Up and Alice in Wonderland images courtesy The Disney Company. Avatar image courtesy 20th Century Fox. Films have always served as stepping stones into virtual worlds, so in this respect Avatar is not unique, nor is Up, Alice in Wonderland, or the myriad forthcoming 3D visual experiences on the horizon. Rather, what makes me think of Freud at this precise moment is how these new virtual worlds look and feel like collective or shared dream. And as Freud remarked famously about dreams as “the royal road to the unconscious,” I am left wondering what these virtual worlds are telling us about our own unconscious longings, desires, fantasies, aggressions, and losses. For now, then, let’s imagine the proliferation of virtual worlds, as a sort of “royal road.” What I believe Freud meant in this statement is the ways in which we express and manifest difficult, often contradictory, ambivalent and painful desires and impulses through the language of the dream; that the material erupting without our conscious control reflects a treasure trove of symbols, meanings, and messages for us to “excavate” (Freud was fond of the archaeological metaphors). We are thus presented with a rich arena to explore the aspects of our culture and shared social worlds that are being presented and expressed through these virtual worlds. Issue No. 25 : Spring/Summer 2010 : Virtually There 4 Terrain.org: A Journal of the Built & Natural Environments : www.terrain.org Avatar's Jake Sully in human and avatar form. Image courtesy 20th Century Fox. On the most mundane level, we may say the virtual is about escape; a fleeing of our earth-bound, fragile, and imperfect world, full of limitations, plastic, diseases, and extinctions, to an idealized world. We can leave our bodies in the seat or the console, and effectively be anywhere, at any time, and with any one. However, the expression of the virtual in its many forms offers more than a story simply of escape, and we can never truly leave behind our bodies, as Jake can. I am reminded of Freud for the central reason that perhaps no one else in human history has written as eloquently about the human struggle to be integrated with our world, desires, imaginations, and frustrations. While Freud’s work has since evolved profoundly through the work of relational and object-relations psychoanalytic thought in recent decades, what remains is the recognition of the human propensity for splitting off unwanted experiences. Usually, humans do this psychically and internally, with dramatic consequences: denial of reality (e.g., “climate denial”), projection of rejected qualities on to others (“tree huggers” or “red necks”), or even more dramatic expressions of delusion and psychosis. Now, more recently we see the capacity to animate our capacities for splitting off aspects of reality (internal and external) through the creation of virtual worlds, whether through 3D, virtual reality (e.g., Second Life) or just the simple act of creating websites or Internet surfing for hours at a time. The attitude I find most productive in contemplating these phenomena is what is called in psychoanalytic literature, the “analytic attitude.” This attitude is informed by a curiosity in the relations between what is conscious and unconscious, rather than focusing on the relations between the individual and society. That is, attending to what is being expressed and manifested unconsciously through the technological artifices that we create, and more crucially, what this tells us about our relationship with our ecological, biotic contexts. Jake’s struggle between worlds is a clear expression of our own dilemmas concerning the capacity for creating virtual worlds and our earth-bound status as mortal beings. Torn between two worlds, as many environmentalists can resonate with (as we dwell in societies we know full well we are destructive and ignorant of symbiotic systems), Jake finds himself affectively (psychically, emotionally, energetically) attaching to a place where the air is toxic, and yet is an expression of Issue No. 25 : Spring/Summer 2010 : Virtually There 5 Terrain.org: A Journal of the Built & Natural Environments : www.terrain.org what life can and should be. He has tasted vitality, community, ecological harmony and a form of communion with the non-human other that renders him unable to “go back” to the old way of life. He must move forward; however, to do so he must depart his human body. As participants in virtual worlds, we are not given this choice. We cannot leave our bodies or this planet, and yet we hold out for the promise of creating something purer, better, less broken, somewhere else. Sigmund Freud, 1922. Photo by Max Halberstadt. It is too easy to dismiss virtuality as a rejection of our earthly plane, and decry it as an ecologically dangerous path to tread. Our affective attachments should be cultivated here, and not on Pandora or any other virtual place. However, we have good reason to worry about what dwelling in virtual worlds means for our capacities for reparation—repair, restoration, concern, care—right here, and right now. Can we blame young people for wanting escape? I am wondering what Freud would say; my guess is that he would find Avatar a fascinating cultural dream, that one can literally step into and experience affectively for a few hours. He may notice the fantasy manifested in Jake’s ability to merge with his new life, in an Arcadian space, even on the threshold of certain destruction (the machines will come back; it’s the return of the repressed, after all).
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