Wednesday, April 24, 2013

Free Write on Atrophy by Emily Searle-White


Ever since I was little, I’ve had pictures come to mind when I close my eyes, some that would come very often.  It was a fight between me and my brain – it was me trying and probing, cautiously enjoying a part of my mind I couldn’t control.

One such image was that of a small polar bear on an ice floe. As I watched, eyes either closed or drifting lazily out and up, the floe would tilt to the side and the bear would slide into the water. I shook my head: the floe righted itself. And it would happen again. It was work to keep the floe balanced, but who was I working against? My thoughts said to this image of my own creation, “No – stay!” – and I would see it tilt before me again.

This is the experience, the thought-maze, that is easiest to explain. The other one that recurred has less movement. The other one was just an image of a person – deformed. It didn’t start deformed, though. As I watched, a figure would appear in my mind and then gradually, it’s head would shrink, or swell, like a cartoon until it was a cruel caricature of humanness. I felt so uncomfortable seeing it happen. It might have been funny if I hadn’t wanted it to stop, and if I hadn’t simultaneously been the one making it happen, though I didn’t know how.

Bodies can’t be right or wrong, but it seems they can be malformed, disfigured, atrophied. Atrophy – makes me think of the desert – devoid of moisture, softness. Deserts are very like atrophy in a way that dogs and waterfalls are not. A desert makes you think of what it is not – of green, of wet, of safety. A dog doesn’t make you think of a cat, but a limb, partially or completely wasted away – makes you think of what it could have, might have been.

-

I would recognize that handwriting anywhere. If you do not nourish a body, it wastes away, it shrivels, tightens, folds and fades. It is nothing without support. Do memories atrophy? I have no idea when or why you wrote that sentence on this page, but there’s no doubt in my mind that you were the one who wrote it. And when the door opens and the mix of apple cider and old sheets of music crashes into my nose, I’ll know the memory of my grandparents’ house has not faded, folded, nor collapsed. What has a memory that flesh has not?

Tuesday, April 23, 2013

Free Write on hypertrophy and atrophy, dedicated to Nietzsche, by Kate M.

Not enough of everything but too much of one thing...-- Nietzsche said nearly those exact words.

I remember you once said
happiness needs to be regulated too
not just pain, or fear, or anger
To ease the dis-comfort of these emotions seems natural
but to ease the discomfort of happiness
that hadn't occurred to me before

Do you want to know how I cross the divide?
despite...

I'm convinced that-
or maybe convinced isn't the right word
maybe I actually just know that
I can tolerate so much a certain breed of suffering, and
so little of another
especially
how do I say it

I wouldn't know that I am full of bones if I didn't keep breaking them
or blood, or guts
or thoughts if I didn't figure out a way to tell you them
that's the thing

--I want to learn how to tolerate happiness--

I've certainly got too much of something
something superfluous
maybe it's like a stray cat
I feed it, though I don't actually want it around

Or like in Beloved
the baby gets so fat
while the mother atrophies
this
the most frightening metaphor of all





 



Tuesday, April 9, 2013

On April 26

Clear your calendar. 


Mark your planner. 


Find a date.


On April 26th at 7:00 p.m. in the Student Union, Poetry for Scientists will be hosting an event. There will be food. There will be music. There will be poetic science


Sunday, April 7, 2013


Light Pollution

A starry night sky

Our Vanishing Night

Most city skies have become virtually empty of stars.

By Verlyn Klinkenborg
Photograph by Jim Richardson
If humans were truly at home under the light of the moon and stars, we would go in darkness happily, the midnight world as visible to us as it is to the vast number of nocturnal species on this planet. Instead, we are diurnal creatures, with eyes adapted to living in the sun's light. This is a basic evolutionary fact, even though most of us don't think of ourselves as diurnal beings any more than we think of ourselves as primates or mammals or Earthlings. Yet it's the only way to explain what we've done to the night: We've engineered it to receive us by filling it with light.
This kind of engineering is no different than damming a river. Its benefits come with consequences—called light pollution—whose effects scientists are only now beginning to study. Light pollution is largely the result of bad lighting design, which allows artificial light to shine outward and upward into the sky, where it's not wanted, instead of focusing it downward, where it is. Ill-designed lighting washes out the darkness of night and radically alters the light levels—and light rhythms—to which many forms of life, including ourselves, have adapted. Wherever human light spills into the natural world, some aspect of life—migration, reproduction, feeding—is affected.
For most of human history, the phrase "light pollution" would have made no sense. Imagine walking toward London on a moonlit night around 1800, when it was Earth's most populous city. Nearly a million people lived there, making do, as they always had, with candles and rushlights and torches and lanterns. Only a few houses were lit by gas, and there would be no public gaslights in the streets or squares for another seven years. From a few miles away, you would have been as likely to smell London as to see its dim collective glow.
Now most of humanity lives under intersecting domes of reflected, refracted light, of scattering rays from overlit cities and suburbs, from light-flooded highways and factories. Nearly all of nighttime Europe is a nebula of light, as is most of the United States and all of Japan. In the south Atlantic the glow from a single fishing fleet—squid fishermen luring their prey with metal halide lamps—can be seen from space, burning brighter, in fact, than Buenos Aires or Rio de Janeiro.
In most cities the sky looks as though it has been emptied of stars, leaving behind a vacant haze that mirrors our fear of the dark and resembles the urban glow of dystopian science fiction. We've grown so used to this pervasive orange haze that the original glory of an unlit night—dark enough for the planet Venus to throw shadows on Earth—is wholly beyond our experience, beyond memory almost. And yet above the city's pale ceiling lies the rest of the universe, utterly undiminished by the light we waste—a bright shoal of stars and planets and galaxies, shining in seemingly infinite darkness.
We've lit up the night as if it were an unoccupied country, when nothing could be further from the truth. Among mammals alone, the number of nocturnal species is astonishing. Light is a powerful biological force, and on many species it acts as a magnet, a process being studied by researchers such as Travis Longcore and Catherine Rich, co-founders of the Los Angeles-based Urban Wildlands Group. The effect is so powerful that scientists speak of songbirds and seabirds being "captured" by searchlights on land or by the light from gas flares on marine oil platforms, circling and circling in the thousands until they drop. Migrating at night, birds are apt to collide with brightly lit tall buildings; immature birds on their first journey suffer disproportionately.
Insects, of course, cluster around streetlights, and feeding at those insect clusters is now ingrained in the lives of many bat species. In some Swiss valleys the European lesser horseshoe bat began to vanish after streetlights were installed, perhaps because those valleys were suddenly filled with light-feeding pipistrelle bats. Other nocturnal mammals—including desert rodents, fruit bats, opossums, and badgers—forage more cautiously under the permanent full moon of light pollution because they've become easier targets for predators.
Some birds—blackbirds and nightingales, among others—sing at unnatural hours in the presence of artificial light. Scientists have determined that long artificial days—and artificially short nights—induce early breeding in a wide range of birds. And because a longer day allows for longer feeding, it can also affect migration schedules. One population of Bewick's swans wintering in England put on fat more rapidly than usual, priming them to begin their Siberian migration early. The problem, of course, is that migration, like most other aspects of bird behavior, is a precisely timed biological behavior. Leaving early may mean arriving too soon for nesting conditions to be right.
Nesting sea turtles, which show a natural predisposition for dark beaches, find fewer and fewer of them to nest on. Their hatchlings, which gravitate toward the brighter, more reflective sea horizon, find themselves confused by artificial lighting behind the beach. In Florida alone, hatchling losses number in the hundreds of thousands every year. Frogs and toads living near brightly lit highways suffer nocturnal light levels that are as much as a million times brighter than normal, throwing nearly every aspect of their behavior out of joint, including their nighttime breeding choruses.
Of all the pollutions we face, light pollution is perhaps the most easily remedied. Simple changes in lighting design and installation yield immediate changes in the amount of light spilled into the atmosphere and, often, immediate energy savings.
It was once thought that light pollution only affected astronomers, who need to see the night sky in all its glorious clarity. And, in fact, some of the earliest civic efforts to control light pollution—in Flagstaff, Arizona, half a century ago—were made to protect the view from Lowell Observatory, which sits high above that city. Flagstaff has tightened its regulations since then, and in 2001 it was declared the first International Dark Sky City. By now the effort to control light pollution has spread around the globe. More and more cities and even entire countries, such as the Czech Republic, have committed themselves to reducing unwanted glare.
Unlike astronomers, most of us may not need an undiminished view of the night sky for our work, but like most other creatures we do need darkness. Darkness is as essential to our biological welfare, to our internal clockwork, as light itself. The regular oscillation of waking and sleep in our lives—one of our circadian rhythms—is nothing less than a biological expression of the regular oscillation of light on Earth. So fundamental are these rhythms to our being that altering them is like altering gravity.
For the past century or so, we've been performing an open-ended experiment on ourselves, extending the day, shortening the night, and short-circuiting the human body's sensitive response to light. The consequences of our bright new world are more readily perceptible in less adaptable creatures living in the peripheral glow of our prosperity. But for humans, too, light pollution may take a biological toll. At least one new study has suggested a direct correlation between higher rates of breast cancer in women and the nighttime brightness of their neighborhoods.
In the end, humans are no less trapped by light pollution than the frogs in a pond near a brightly lit highway. Living in a glare of our own making, we have cut ourselves off from our evolutionary and cultural patrimony—the light of the stars and the rhythms of day and night. In a very real sense, light pollution causes us to lose sight of our true place in the universe, to forget the scale of our being, which is best measured against the dimensions of a deep night with the Milky Way—the edge of our galaxy—arching overhead.

Wednesday, April 3, 2013

Toxic Flora by Kimiko Hahn

There is something vital
about the Passiflora auriculata,
which over a million years varied its cyanogens
to discourage feasting insects...

In "Toxic Flora", a collection of poems by Kimiko Hahn published in 2009, Hahn explores topics such as family and adolescence, but through the lens of clippings from the New York Times' science section. Her poetry, while emotionally powerful, utilizes scientific phenomena and terminology as a lens for understanding the world. 

What does this demonstrate about toxins
or residence?

Or carrying around a portion of the childhood home
where the father instructs the daughter on the uses of poison
then accuses her of being so potent?




To read more, check out her book for sale on Amazon, or read this article about her in the New York Times. 

Freewrite on the words Resonance and Dissonance by Serena Tsang

Dissonance and resonance--complementary opposites. Neither one can exist without the other; the concept of disharmonious clashing cannot exist without harmonious reverberation. Though these terms most commonly regard inanimate objects, that is not to suggest that humans cannot prolong or reinforce the sounds from another human being, or that two humans cannot be unsuitable and disharmonious toward each other.

But perhaps dissonance and resonance are not merely complementary opposites. Doesn't some dissonance resonate through us? And we all have experienced the sensation of two bodies moving around a single primary, a single object, a single goal, a single experience. Their revolutions simply proportional, their revolutions simple--easy--and perfectly proportional to each other. Only to find that something has happened to push them out of synchronicity and make them disharmonious. Isn't that the cause and definition of dissonance?

So resonance and dissonance are not merely complementary opposites; rather, they are the cause and effect of each other.