Monday, October 19, 2015

Awareness and a brick made of mud

Can we be aware of what we don't see? What about phenomena that escape our other senses? What is the dimension of awareness and how do we come to understand it? Is understanding itself necessary or will experience suffice?


This small country of Sri Lanka seems so huge. It is huge in natural treasures, the depth and complexity of its history, the hidden corners in plain sight and the hidden corners overgrown by jungle. You explore one place and there are 10,000 others to see. You explore 10,000 and there remain 1 million. 


Travel is easy but travel is hard. Distances are small but time and circumstance expand them. One place is green and the next place is greener. Even the decision to turn to the right or left stops you in the heat and noise of insects. 


You find one place in shimmering amazement and you are beckoned by the path further and deeper. Inertia and love holds you in thrall of the waves or the gentle lapping waters of a tank or the ripple of a river. 


A brick made of mud is still and stiller mud and the mud moves by turn in a flow or cascade. 


So. Awareness. The song of every corner and vantage. The wriggle of light and shadow in every expanse and fold. The cadence of languages just beyond intelligible to you as a stranger. But as a stranger you are drawn in and welcomed.

 

The Monk Who Flew a Kite: Taking an Interdisciplinary Fulbright to New Levels

I read in one of the English language papers here in Sri Lanka about a Buddhist monk who flies kites. It's not all he does according to the article but granted, it's a little out of the ordinary. But the article goes on to tell how he loved kite flying as a child, was ordained very young, and had to put aside his beloved activity for many years. 


Here I am a month into my Fulbright and in these weeks it would seem like we did "everything." From meeting with top researchers who are doing vital water management work to lecturing at Rajarata University to doing intense fieldwork with students from Rajarata and also here in Colombo at Moratuwa University, our time has been incredibly full. Spectacular walks in the countryside have inspired new ideas about cultural landscape ecology, my stated research activity here, and I have documented these walks in blog posts, photography, and even poetry (sometimes the impressions are so strong I find I can't contain them in prose!). We have savored the cuisine, the music, the people, the history, and of course the landscapes of Sri Lanka during these weeks. 


So in a word or two, Janet and I have embarked upon and accomplished a substantial amount of cultural and academic exchange. It's safe to say barely a day has gone by that we haven't experienced to the fullest, a real contrast to our everyday life at home where we work hard and do our best, but perhaps experience and feel less than we should. 


So it might come as a surprise that we spent this morning hunting down art supplies so that this Fulbrighter can start painting! I'm a scientist by training but I've been painting for a long time, in a damp dimly lit space in our basement. Just the same I love doing it when I get a chance. I've exhibited and sold my work but more important, enjoy giving it away to friends. I'm thinking that this rather solitary activity, deeply reflective and personal, will actually lead to more and not less social interactions. More chances to show the work to friends old and new, more chances to express my gratitude for the beauty and grace of this place, and the chance to set up my workspace in view of the Indian Ocean. 


I'm not a monk but the monk inspired me. As a scientist I'm deeply steeped in interdisciplinary work, one of the goals of my Fulbright. Why not pursue it by painting, something I've always loved doing? Of course, I'll keep my day job teaching and learning and interacting while I'm here. Can't help but do that. It's me. 


The photos in today's post are some examples of my work. Watch for more as the weeks go by and please do let me know what you think. 



Sunday, October 18, 2015

Design is an iterative process


So I just finished a weekend with excellent students from Moratuwa University who are in a seminar course on urban design. 

At the end of the weekend they showed me about 60 slides of graphics they prepared to depict data they've collected on a long-term project for a master plan for the UNESCO World Heritage Galle Fort. Some of the graphics were excellent. Some not so much. My criterion: did they tell a story or did they confuse? 

At the end of the "show" I was asked "so professor, how should we organize these slides for our 20-minute presentation next week?" Sixty slides in 20 minutes? A month's worth of work on nearly a dozen sites explained in this time, with each graphic's legend recited and explicated by the speaker? Nooooo!

Over the past couple of days we've been discussing ideas like "design is an iterative process" and "less is more," concepts that make less or more sense to the students depending on the moment and a moment's language proficiency. But one thing we've clarified is that design is a process. A process of uncovering and decisionmaking that includes moments of frustration and clarity by turn. One frustration is that all the students have questions about the theme of the conference "urban coherence" and what that can possibly mean. 


So I asked the students to think about this. Here they had worked for a long month, throwing themselves into a project they had to learn from scratch. When they came to Galle Fort they were clueless about the place or about what they had to learn. So they used their best powers of observation and collected the data depicted in their powerpoint slides. Strangely though, over the course of the weekend, as we took many walks together and engaged in endless conversations, they hadn't spoken with me about what was in their slides. They talked about movement, connectivity, sun, shade, and human striving. "So we need to sift through our data and come up with a presentation from that, right?," is the question I was eagerly asked. 

"Not exactly," was my reply. "All the stuff you talked to me about this weekend? None of it was even in your data."

What happened is this. The process of design research provided something better than answers--more effective than "solutions." It led to a whole new set of questions. Design is an iterative process where new questions are generated, new pathways of inquiry developed, and new insights gained as the process moves forward. This time around it took the students a month to come to this stage in their inquiry. Next project it will take a week. It's this process I'd like to see the students present to their peers later this week. 


With students from Moratuwa University

Waking up early but not early enough perhaps to regain my equilibrium after a long day yesterday working with students from Moratuwa University. This in conjunction with an international student workshop that's slated for next Friday where I'm supposed to talk about urban coherence and incoherence, a slightly incoherent subject I think, which is the focus of the conference. 


It's 6:30 AM and I'm at a property some way out of Galle in a hilly-gully area studded with new construction. If I'm to guess by my absent host the houses were built by people like him, a banker. I've met him three times since we came and he's very hospitable. His place, pocket sized, immaculately designed and a bit roughly finished, was designed by one of the architects, Indika Ruparathne, who is in the master class I participated in (or taught) yesterday. 



As is the case about 100% of the time here I was in the dark about what we were doing, where we were going, and what we were to accomplish. Janet gamely came along, if only for the chance to re-visit Galle, which we visited two years ago on the cusp of its ascendency into a high-end retail and lodging destination with UNESCO heritage status. Along with us were four of the five students in this M-Arch program who ranged from a young protege of Janaka Wijesundara, my talented and accomplished colleague at Moratuwa, to a father of four in his forties, our media communications expert, who had just gotten off the night train from Jaffna, a nine hour trip he takes every weekend for this course. 


My "students" had spent several months studying Galle and especially the UNESCO-status Galle Fort, at one point spending a full week together onsite. To call them a tight cohort would not be an exaggeration, especially when they had the chance to break away from their duty of English conversation with us and had the chance to chatter, giggle, and roughhouse in Sinhala. This is what I've observed every time I've been in the company of junior faculty here, which is where at least a couple of them are headed. I haven't noticed this behavior among girls but for the record, there were no females in this coterie. 

To be fair I'd say with honesty that these people know their site. They've spent lots of time there. They know the terrain, the patterns, and the people. They claim to have done 200 interviews which is possible, though the "interviews" I observed were short and informal. No matter. These are Sri Lanka's future architects and planners and the standard of their learning, and more important, the quality of their questions is on par with my students at the BAC in Boston. 


Their main work is concerned with a master plan for Galle, a good idea since the World Heritage site at the Fort is sure to bring in more money and overspill its bounds. Galle town has to be developed in some kind of coherent way. But there I go again with the word "coherent." It's anybody's guess. The most accomplished architect in the group maintained a prissy attitude about the "disorganization" of the fish market, calling it "disordered" and "undisciplined," labels I can't accept personally, while another group member stressed the need for shade and people's need to move through (not sit) as they perform their daily tasks.  


So there is so much room for interpretation it's hard to know what they think as a group or how they've anchored their ideas or how they will present their work in a few days. 


Some observations are perhaps in order. I watched group decisionmaking over lunch and was impressed by how much conferring and cross-conferring needed to be fine before we could order. Ultimately everyone got the same thing-a family style fried rice and curry and everyone bent down and got to work. 


So many questions during our work. So many stated ideas and opinions. Sometimes people would both talk at the same time and it reminded me of when my twins were small and addressed me simultaneously with their burning concerns. 


We spent hours it seemed circling the Fort, trying out, repeating, restating ideas in a kind of circular way that matched our circumambulations. There were times it seemed like we weren't getting anywhere, times when group members disappeared but multiple phone calls were made back and forth. Times when the same divergent opinions were repeated seemingly endlessly. 


As a foreigner it became I thought impossible to decipher how people were communicating, what they might be communicating, or how I should respond. With one student I could see no point of agreement. No matter how politely I listened I couldn't seem to swallow what he said. Finally I took a direct approach and told him I didn't agree or worse, told him I disagreed. No matter. He kept explaining his philosophy to me. So is this a way problem solving is done? Just keep going around and around with ideas until some aspects of everyone's ideas are incorporated into a group consensus?


There were times that were frustrating and times that were maddening and times I thought I would die of thirst and times I choked on cigarette smoke or exhaust. Times the noise of trucks or kotti making stopped all conversation and times a heavily accented English just became too hard to understand. 

In the end our conversations were incredibly productive. Finally a series of questions was put to me: how should the presentation focus? What's the difference between an urban designer and an urban planner? How much must a designer know? And how much of their knowledge do designers have to incorporate into their work?


I found myself with a group of deeply curious students, well informed, and with a thirst for more answers. Answers which I couldn't pretend to provide. So in the end I threw back a few questions, digging deep to keep the questions good natured. I was way overtired. And then this morning came the students' response. 


"The questions you threw at us made us search for answers. And as we searched for answers to your questions we found answers to our own."

What better way to spend a weekend with a group of well-prepared students who were primed to learn and interact? A wonderfully rewarding experience for me and one that I hope will perpetuate many more discussions with these wonderful students. 


Wednesday, October 14, 2015

Without breaking all my limbs

Without breaking all my limbs was the term Amara used
When he said to his nine siblings
After their mother died
You let me stay in this house and eat and live and grow without breaking all my limbs

With some overseas and some dead by kidney or liver the rest grew angry and jealous of the adopted man, now forty, when their mother died and took away the house he lived in with her, caring for her the long years after his father

Instead he went to sleep in a school building
Built by Belgians 
With refugees from the north
And displaced families from all around
And people whose identity papers had burnt or were stolen or were left behind so no one had rights to redress or resettlement Singhala families, Tamil families, Muslim families. Amara the one single man the rest with children who call him "old uncle,"
Using the building at night as a sleeping place
And in the day clearing out, making room for the government kindergarten. 

Not all of your limbs were broken
When your parents were killed in the east in the first act of terror on the island

You were six maybe five
You knew your given name
You hid in the forest
You slept in the trees
You were different a stranger and hounded and used and chased and threatened and enslaved and attacked but not all of your limbs were broken 
and you could move
and you moved west
and you kept sleeping in the trees
and you kept being chased 
and you kept moving
and you ended in Mihintale 
where you slept in the street
and were found
Your adoptive father a healer
One who took no money
One who diagnosed on the spot
One who knew the herbs and soils
One who gave you his surname
And work
And when there was food, food
An old man already
And so many children
Your kind mother never had enough
you told me
Not even a sambol
As hard as you worked for them
And you sold lotus on the steps to Mihintale Dagoba
And you worked in the fields 
And you worked as a laborer
As a builder
As a carrier
As a helper
As a "waiter" 
As a tea bringer to the cultivators
As a carrier of sacks of pesticide powder
As a cultivator yourself 
Bending in killing heat
All your limbs weren't broken

The Lime & Other Cultural Questions

In my country we serve a piece of lime one of two ways. Either it's served in a wedge, like with fish, or in a slice, like when it comes with a cold beer. Here in Sri Lanka when a lovely plate of fruit is served it comes with a tiny piece of lime that seems to have been thinly shaved off the fruit. Would you call this stingy?


Fruit, limes and all, are plentiful in Sri Lanka. And my genial gentle hosts are all generous to boot. So why can't they give me a bigger piece of lime? Should I complain? Stamp my foot? Kvetch to trip advisor? 

Apt questions I suppose but then, why would I expect a piece of lime to be served the way it is in my country? Do I expect the rain to fall in gentle rivulets? Do I expect a less salty Indian Ocean? Sidewalks without potholes? Exhaust-free buses? This is not my place. I'm a visitor here. 


Cultural exchange I think has one principle at rock bottom. That is, accept people and the culture you are visiting at face value. Janet is an expert at this, in large part because of her medical practice where she meets all kinds of people. Not to get all preachy but I think at the heart of accepting people at face value is empathy, something I'm afraid most of us are a bit short of. 

If I can empathize with the people I interact with I can stop expecting things of them. I can assume that the slice of lime I'm given is an expression of generosity and graciousness, the same as I would provide for a welcome guest. I can have a lot more fun because I can get rid of the misconception that people are cheating me, shortchanging me, or trying to do something that's not nice to me. 


I think foreigners in Sri Lanka have a hard time with this, especially if they are here for a short time. Letting people open up to you, give you their best smile, and try to get to know you is one of the nicest experiences.  

Tank Cascade or Village Tank Morphology? Function or theory?

The question of unwrapping, unraveling, elucidating, or "uncovering" the landscape carries its own complexity beyond the complexity of topic, landscape itself, we are studying during this Fulbright. Part of the complexity is political or quasi-political. Its roots, like the roots of landscape, are embedded among histories that are at once dissonant and parallel. 


It seems to me this is especially apparent in a Sri Lankan context. Late the other afternoon we traveled by train from Vavuniya south to Colombo. Up in the Vanni, the region of which Vavuniya is the capital, and later as we transitioned into the Anuradhapura region while it was still light enough to see, we observed that over every stream, whether ephemeral or active, a bridge, however insignificant, carried the train safely above. How many streams in this part of the world? How many jungle rivulets? How many lost corners? 




How much engineering had the British employed to find these places, adjust them, and cover them with their network of transport, commerce, and conquest? 

To say that the British "tamed" these places is wholly wrong. But to note that these places are impregnated with British and later Western technology is perhaps not inaccurate. Railroads reach to the remotest corners of this island, as do roads and other infrastructure. Many of these, though not all, were introduced by the British. They exist in a huge, intricate network over terrains varied and heterogenous. The variation is so great, the obstacles so rife, and the remoteness so profound, it amounts to a modern miracle that this infrastructure is maintained as well as it is at the national level. So when topo maps of Sri Lanka were undertaken it's no wonder that rail lines, roads, and similar landscape features were depicted with pride. They are embedded in this landscape like raisins in a scone. Or should I say, like chiles in a sambol. 


But these features are not the only infrastructure in this landscape. An even more intricate human-built fabric, one that holds the hand of nature rather than strapping it to straitjacket, characterized this place. The genius of Brohier, who first and fully described the "hydraulic civilization" of ancient Sri Lanka followed on the findings of Parker and other astute British observers. These landscape explorers had found themselves in an extensive human-built matrix of land and water unlike what existed in any other part of the world. Like the colonial infrastructure that was to come later, this matrix effectively covered every square kilometer of the Dry Zone of Sri Lanka. Through neglect, willful destruction, and natural forces the tank systems had declined and in many places disappeared. But like a moldering skeleton the hardscape of the tanks persisted widely here and there. We saw one such tank the other day, all but abandoned, but distinctly present. Unlike a skeleton, disembodied from living tissue, the tank system was able to be revivified. It was available for human repair and re-use. 


Brohier revealed much about the tanks but to my knowledge he didn't articulate the cascade system. This was left to later scholars, notably CMM Madduma Bandara and CR Penanokke. They unearthed, as it were, the indigenous, vernacular landscape of Sri Lanka. The physical and social undertaking they documented, the construction and maintenance of tens of thousands of village tanks over hundreds of years was, as Brohier noted, truly "prodigious" in scope. It shaped the cultural landscape ecology that was and still is synonymous with much of Sri Lanka. 


Articulating the tank cascade system was in a sense a national and nationalist statement, similar to the massive archeological endeavors of 20th century Mexico or Israel. But in contradistinction to these efforts, which were largely but certainly not exclusively focused on physical structures centered around worship, the tank systems were and are a banausic artifact of everyday life and sustenance in Dry Zone Sri Lanka. They are still in use and they are deeply and closely woven into the fabric of the countryside. The village tank is still the village tank, however neglected or silted over. Cultivators still use it for irrigation. It is still used for bathing, washing clothing, harvesting fish, lotus, and foods. The tank still functions as a wildlife refuge and its banks are still the site of shrines, offerings, and other periodic religious functions. 

So the cascade system is kind of insoluble unit of the landscape, bounded neither by political nor social constructs but embodied watershed by watershed. Whether ancient villages of a given series of tanks (cascade) communicated about the flow of water from one to the next is not known. Professor Bandara in personal communication with me explained that such a communications structure is presently unknown. Nor are all the methods the ancients or their descendants, returning cultivators of the 19th century, used to build and maintain these structures. But they were maintained and curated over the hundreds (sometimes thousands) of years they were in use. The cascade system by whatever name or account remains the indivisible unit by which the Dry Zone of Sri Lanka may be characterized. 

At the same time as the "cascade system" remains indivisible there is the reality of the anatomy and morphology of the individual village tank. These terms, which we normally reserve for living organisms, were introduced to me by my friend and colleague MUA Tennakoon, just as I was conceptualizing tanks in this fashion. The tanks are alive in that their biotic features are components of tank function. Plants, animals, and microorganisms all play some role in tank function. And rather than just holding water, tanks appropriate its behaviors in order to filter and distribute water and water-borne chemicals differentially. I consider the tank to be a sort of valve, harnessing, controlling, and behaving as a conduit for water. Perhaps the Sinhala word for tank, wewa, is somehow through Sanskrit related to the Latin word for valve, valva


The ability of tanks to perform complex functions is hindered by neglect. As naturally-borne silt builds in tanks their ability to hold water is decreased. As surrounding forests and reed-beds are degraded or destroyed, their tangible or intangible functions are lost. Introduced species of plants and animals alter the tanks. For example the tunneling activity of lotus tubers plays some role in the the interaction between the tank surface and water that comes into contact with it. As lotuses are out-competed by invasive plants this role is lost.  Tank morphology changes as well, perhaps imperceptibly when the tanks are full and lush with wildlife, so that the functions of filtering, for example alkaline solutions, are altered. The silt may sequester certain elements like phosphorous and nitrogen, slowing the eutrophication process. But to what extent and how effectively still needs to be seen. My colleague Nimal Abeysingha and I, accompanied by students from Rajarata University collected over 50 soil samples from a dry tank bed a couple of weeks ago, just before the rains. As these samples are analyzed we will come to better understand the role of silt in tanks. But we need to collect more. And we need to assay them for heavy metals such as cadmium and arsenic that directly impact human health in Dry Zine Sri Lanka. 


Now that we understand to a great extent the morphology of the tank cascade system I would propose that we shift our energy slightly, to pay greater attention to tank morphology, anatomy, and function. I'm not the first person to propose this. It's been part of the work of Madduma Bandara and especially MUA Tennakoon as well, in addition to other voices in the IWMI (International Water Management Institute). But while the elucidation of the cascade system was arguably a post-colonial response to an otherwise imposed geography, it is tank function at the village level that reflects the performance, agricultural, social, and societal, of the Dry Zone countryside. Without functional tanks, agriculture, already on the wane in the countryside, will wither. No matter how well we understand the cascade system, and we should continue to study that as well, the individual tank is the heart of agricultural function in this country. We should move our efforts to understand it better.