The city that never sleeps

Dave Taft offers a splendid 24-hours sampler of the wildlife to be found within New York City, be it animal, vegetable, or fungal; native or alien invasive. He even finds something remarkable about the ickiest species on his list, Macrobdella decora:

Generally an animal no one wants to find, the American medicinal leech is attractive, as far as leeches go. Green or dark brown overall, this native leech has orange spots with a lighter belly.

The color illustrations by Matt McCann, in the online edition of this story, really pop.

Plunging

Oh, one more from the links pile: a gorgeously illustrated post by Scott K. Johnson about the geology of California’s Sierra Nevada. Is the mountain range rising or falling? We still don’t really know.

That might disappoint people who just want a simple answer, but messy fields of research are interesting fields of research. As Greg Stock [geologist for Yosemite National Park] described it, “Part of what’s been fun about being involved in this issue of Sierra uplift, for a couple of decades now, is that every so often—actually pretty often—a paper will come out that really challenges a lot of what we thought we had accepted before. Even though I know it’s a little frustrating for our interpreter rangers here [at Yosemite], who kind of want a nice clean story to tell the public, I have to tell them—no, no, this is great, because this is the way science works. And it’s a great thing to be involved in a field of study that is this turbulent.”

Pondering

An op ed piece by Mark Lynas has been sitting in my clippings folder for several weeks. He makes the case for genetic engineering (GE) of food crops, with particular emphasis on its positive effects on yields in the developing world. While I can’t say that I’m entirely convinced, the column is persuasive — particularly when you consider that Lynas was once an activist against GMOs.

No one claims that biotech is a silver bullet. The technology of genetic modification can’t make the rains come on time or ensure that farmers in Africa have stronger land rights. But improved seed genetics can make a contribution in all sorts of ways: It can increase disease resistance and drought tolerance, which are especially important as climate change continues to bite; and it can help tackle hidden malnutritional problems like vitamin A deficiency.

At about the same time, Tania Lombrozo posted about the psychology of public acceptance of genetic engineering, or, as she put it rather bluntly in her lede,

Why do so many people oppose genetically modified organisms, or GMOs?

And, again, I’m not sure that her analysis applies to my skepticism, but the effect of the two writings leads me to consider why I am mildly opposed to expanding high tech agriculture. I think the core of my opposition lies in business models and practices, in the troubling consolidation that is taking place in the seed industry—not in subjective assessments of what constitutes a “natural” food. I look to the Union of Concerned Scientists, which offers this pro- and con- assessment:

We understand the potential benefits of the technology, and support continued advances in molecular biology, the underlying science. But we are critics of the business models and regulatory systems that have characterized early deployment of these technologies. GE has proved valuable in some areas (as in the contained use of engineered bacteria in pharmaceutical development), and some GE applications could turn out to play a useful role in food production.

Thus far, however, GE applications in agriculture have only made the problems of industrial monocropping worse. Rather than supporting a more sustainable agriculture and food system with broad societal benefits, the technology has been employed in ways that reinforce problematic industrial approaches to agriculture. Policy decisions about the use of GE have too often been driven by biotech industry public relations campaigns, rather than by what science tells us about the most cost-effective ways to produce abundant food and preserve the health of our farmland.

“Public relations campaigns:” does anyone remember when DDT was going to save the world, and Rachel Carson was called a crank?

The Union’s policy recommendations, among other things, call for food labeling laws, “so that consumers can make informed decisions about supporting GE applications in agriculture,” and I am definitely behind that idea.

I would like to think that I can be convinced by reason and evidence, so I could change my mind. But for now, I’m hanging out in the gray area.

Big strides

Robert Rice updates us on the progress of the Smithsonian’s Bird Friendly (BF) coffee program, and connects it to research programs here and abroad. The program is retailing north of 700 thousand pounds of java annually.

The biggest challenge facing the BF coffee program is marketing. Currently, less than 10% of the coffee certified as BF actually makes it into the market as such. This shortfall is partly due to the fact that BF coffee is certified organic (as a pre-requisite) and thus often is sold into the organic coffee stream as organic only—not being purchased or marketed as BF. We presently are working with a consultant to help us design plans to increase demand. Creating more demand will result in more shade coffee farms being certified as Bird Friendly, and that is our main goal of this program: conserving viable, quality habitat for migratory and resident birds in the tropics.

At the park: 78

Our last monitoring day for nest boxes was 7 June. From my final report for the season:

Well, not a lot to celebrate this year. My count shows 2 successful nests, one Wood Duck and one Hooded Merganser, both along the inflow to the main wetland. Elsewhere we had 11 nests started but not hatched, either abandoned or predated. As I wrote earlier, we saw evidence of raccoons at several boxes. On 7 June, we also found a rat snake in Box #7. (My notes are not clear for Box #1; it may have been successful, but it was probably predated.) Our fledging percentages for the season are Wood Duck 19% (13/69), Hooded Merganser 20% (13/64).

It would seem that we had more mixed-clutch boxes than usual. Perhaps our species ID of individual eggs is not as accurate as it could be.

Once again, if the team can be helpful in installing predator guards, please let us know.

Dove Pete Panto?

The Hook, a screenplay by Arthur Miller from 1950, never produced due to its leftish sympathies, now adapted for the stage, has just completed a run at the British regional theater the Royal and Derngate.

Although [Harry] Cohn [of Columbia Pictures] agreed to make the film, the McCarthy-era mood prevailed….

Soon after the meeting [with Miller], Cohn declared the script had to be vetted by the head of the stagehands union, and — according to Miller’s autobiography — by the F.B.I., which feared the film might cause unrest in the dockyards that supplied the Army fighting in Korea. Changes were demanded, Miller wrote, notably that “the bad guys in the story, the union crooks and their gangster protectors, be communists.”

Furious, Miller returned to New York. Soon after he received a telegram: “It’s interesting how the minute we try to make the script pro-American, you pull out. Harry Cohn.”

Halfway down the block before realizing that you’re headed the wrong way

A simple, analog solution to SOSED (Sudden-Onset Subway Exit Disorientation): low-profile wayfinding signs on the stairway risers, designed by Ryan Murphy and documented by Vicky Gan. Much more useful than smartphone beacons, also discussed in the post: who wants to be staring at a screen when you and 1,000 of your new best friends are trying to get off the platform and into the light?

Zombie: The American

Robert O’Hara’s Zombie: The American makes an interesting bookend to Woolly’s season with its opener, David Adjmi’s Marie Antoinette, in that both imagine the courtly intrigues in the centers of power—as Adjmi looks at late 18th-century France, O’Hara fancies a mid-21st-century USA in profound eclipse. But where Adjmi’s theatricality revealed a tender heart, the present work is a Grand Guignol melodrama of mashed-up metaphors. O’Hara’s heavy-handed message is that our culture has done some brutal things to get where it is today, and we should just own up to that. OK, there are zombies in the basement.

The future setting allows the imagination of costume designer Ivania Stack, who produces some trippy suits for the American President and his First Gentleman: exaggerated, but following a believable trend line. Sarah Marshall’s Lady Secretary of State Jessica Bloom resembles one of Ian Falconer’s ladies of a certain age, grimly leaning into the wind. The hidden treat of this show is Luigi Sottile, who plays three different factotums of the Presidential Court, all of them biological clones equipped with some sort of bionic artificial intelligence. His supercilious, sexy Royal Butler is worth the trip to D Street, N.W.

  • Zombie: The American, by Robert O’Hara, directed by Howard Shalwitz, Woolly Mammoth Theatre Company, Washington

Backstory

In his notebooks, [Paddy] Chayefsky wrote year-by-year biographies for his characters. [Max] Schumacher doggedly worked his way up through the army’s Stars and Stripes newspaper, local papers, radio, NBC morning news, See It Now, CBS Reports, and network documentary and news departments to become the president of his division. Diana [Christensen], by contrast, had just five previous television credits—at a children’s show, in audience research, and in daytime programming—before she reached her own vice president post. He drafted for himself a twenty-three-person roster of nonexistent executives at the fictional network he called UBS…, from its chairman of the board down to its vice presidents of programming, legal affairs, public relations for the news, and public relations for the network. He drew up a seven-night programming grid for UBS, inventing every show that aired from Monday through Sunday, 6:00 P.M. to 1:00 A.M., with such evocative and snidely reductive titles as Surgeon’s Hospital, Pedro and the Putz, Celebrity Canasta (paired on Wednesday evenings with Celebrity Mah-jongg), Lady Cop, and Death Squad. None of this information would make it into the screenplay [of Network].

—Dave Itzkoff, Mad As Hell:The Making of ‘Network’ and the Fateful Vision of the Angriest Man in Movies, p. 49