In the new issue of Dwell: an article on Helmut Jahn’s “Supportive Housing” in Chicago. Green, high-tech living for the homeless.
A Trip to the Zoo
The eyes of an animal when they consider a man are attentive and wary. The same animal may well look at other species the same way. He does not reserve a special look for man. But by no other species except man will the animal’s look be recognized as familiar. Other animals are held by the look. Man becomes aware of himself returning the look….
The relation may become clearer by comparing the look of an animal with the look of another man. Between two men the two abysses are, in principle, bridged by language. Even if the encounter is hostile and no words are used (even if the two speak different languages), the existence of language allows that at least one of them, if not mutually, is confirmed by the other. Language allows men to reckon with each other as with themselves. (In the confirmation made possible by language, human ignorance and fear may also be confirmed. Whereas in animals fear is a response to signal, in men it is endemic.) … No animal confirms man, either positively or negatively…The first metaphor was animal, it was because the essential relationship between man and animal was metaphoric. Within that relation what the two terms — man and animal — shared in common revealed what differentiated them. And vice versa.
-John Berger, “Why Look at Animals?” About Looking.
So maybe dolphins didn’t really commit mass suicide, and maybe elephants can’t really paint self-portraits, and maybe a parrot never served as key witness in a murder trial, and maybe monkeys don’t have real conversations– animals are a lot smarter than you think. 
To the left is my dog’s favorite toy, to the right is a coffee cup that scares the bejeebus out of her (it’s also a picture of her doppleganger.) Another example of how uncanny valley creeps out animals too.
The other day, I was in a shopping mall and for whatever reason stopped by the pet store. It was a typical mall pet store, the size of a closet, at the far corner where all the cheap and badly maintained stores are located. Seeing a dozen or so puppies in their cages gave me a terrible sense of guilt. Like I should take them all — pay for them — and save them from further torture. But that would only encourage the store to breed more puppies in even worse conditions.
The Sundance Channel’s Big Ideas for a Small Planet “animals” special is the best episode in an already great series. They highlighted an animal shelter in Dallas doing its best to provide safe, friendly, spacious (green) conditions for its inhabitants. The structural changes indirectly raised a practical question: who is going to go to the pound if you are only going to experience that guilty feeling that you need to save them all?
Another segment was on the maintenance of the Bronx zoo, where they emphasize that conservation is their major goal. It got me thinking about how much has changed since John Berger wrote “Why Look at Animals?” in 1977. Berger’s essay talks about the way zoos at once seek the distinction given to museums, although they are taking subjects out of the natural environment in order to display. So what you have is an animal with a “frame around it.”
Visitors visit the zoo to look at animals. They proceed from cage to cage, not unlike the visitors in an art gallery who stop in front of one painting, and then more on to the next or the one after next… When you look at these animals, even if the animal is up against the bars, less than a foot from you, looking outwards in the public direction, you are looking at something that has been rendered absolutely marginal; and the concentration you can muster will never be enough to render it…
The space in which they inhabit is artificial. Hence their tendency to bundle towards the edge of it. (Beyond the edges there may be real space.) In some cages the light is equally artificial. In all cases the environment is illusory.
Now zoo architects are working toward building less artificial environments(and cages are no longer acceptable in metropolitan zoos.) Still, the just open Norman Foster elephant house for the Copenhagen Zoo, and news surrounding it, shows the debate whether a zoo should exist at all never went away.
A design critic at The Guardian says, in an otherwise an enthusiastic post about the zoo addition, “How can any architect even begin to match the subtlety of a spider’s web or recreate the landscapes and forests elephants call home? Zoo architecture is, at best, an art, or beast, of uneasy and uncertain compromise.”
Images by Sarah Moon. Brightcove video and more about the artist.
Wired’s feature on Marc van Roosmalen, facing prison time for biopiracy, is one of the most fascinating articles I’ve read in a while (unfortunately, it’s overshadowed by the controversial cover story.) When I first heard about biopiracy, I believed it might be one of the few areas where intellectual property is actually fair, so long as it’s granted to the country of origin. But reading how it is enforced in the Brazil gave me second thoughts. Richard Stallman (of course) has some things to say about the need to free all plant life from patents.
Biomimicry is design based on “nature’s best ideas.” Inhabitat gives the example of a Zimbabwean building with no conventional air-conditioning or heating, “inspired by indigenous Zimbabwean masonry and the self-cooling mounds of African termites.” And this ocean power system that mimics the motion of underwater plants in ocean currents. Last month, National Geographic had a feature about the design movement. Here are several related TED talks.
Our Past is Haiti’s Present: An Interview with “Secondhand (Pepe)” filmmakers Hanna Rose Shell and Vanessa Bertozzi
Pepe in Haiti. Images used with permission.
In the 1960s, as part of an international aid program, the US started shipping huge loads of secondhand goods to Haiti. Many older Haitians still refer to their secondhand clothes as “wearing kennedy,” a nod to the president at the time. Another word commonly used to describe these goods is “pepe.” Preachers were said to cry Paix! Paix! (”Peace! Peace!”) to calm down the excited crowds awaiting new loads of items to sort through.
Today, anyone in the Miami, NYC, and Boston areas — cities with large Haitian immigrant populations — is likely to run into someone at a flea market or thrift store collecting goods to take home to Port-au-Prince. Secondhand (Pepe) (clip) is a short documentary showing this remarkable trade in goods, as it explains the history of secondhand clothing in our country. Filmmakers Hanna Rose Shell, a Ph.D. in the History of Science at Harvard, and Vanessa Bertozzi, a graduate of MIT’s Comparative Media Studies program, who now works at Etsy, were curious about the tradition of secondhand clothing. From 2003 – 2007 they visited ragyards in Miami, went through archives in London and Washington DC, and traveled to Haiti to see the pepe markets for themselves.
Shell says Haitians sometimes dress better than Americans because they are used to tailoring their secondhand clothes to fit. While the pepe market makes it difficult for Haitian tailors to sell their own designs or traditional fashions; the cheap cost means, as one woman in the documentary explains, they can “adopt the look that is on television without much effort.” Shell describes the country in an essay in Transition as completely absent of traditional retail, “interiors lie vacant, transformed into makeshift dwellings or pepe depots. Chain stores and standard clothing outlets dot only the poshest streets of Petionville. Whereas McDonalds, Walmart, and American banks have invaded other Caribbean and Latin American countries, Haiti operates at the level of the individual seller and transaction.”
The US has a long complicated history imposing trade embargoes on Haiti, but we never ceased shipping secondhand goods. With the benefit of cheap items, comes the cost of serving as a dumping ground. Shell describes the city of Miragoane, which receives shipments of pepe nearly every day, as “blanketed, literally, by a downy coat of secondhand clothing. It grows out of the ground and into the street, onto every surface, a sartorial network — buildings, barrows, man and machine-made structures, everywhere. Each unsold piece is full of memory and possibility, the ghosts of its previous wearers and the portents of its future ones sharing the same textile skin.”
Secondhand (Pepe) is also a creative film with innovative collage-like usage of archival images and footage. (Shell and Bertozzzi also have Flickr sites with more images.) You can purchase a copy of the documentary on Etsy. Over email I asked the filmmakers about their experience making the documentary.
How did you first find out about the secondhand (”pepe”) clothing market?
We became interested in the stories of secondhand clothing when we were college students together in the late 1990s. We went to thrift stores and began to talk about where the clothes came from – and think about the different stories they would have, depending on who bought them – and where they traveled. In 2002, an article in the New York Times Magazine, discussed the international trade in secondhand clothing and after reading it, we decided to make a film on the subject.
We were living in Boston at the time and started going to secondhand stores where we met many immigrants involved in collecting secondhand clothing for shipment to their home countries. We were particularly struck by the stories of many of the Haitian immigrants we met during our first days of interviewing and shooting, and went to the pier in East Boston where clothes were shipped to Saint Marc. We set out to follow the story of the clothing they purchased – pepe –as it made its way overseas. From there, we got increasingly interested in the history of the secondhand clothing business, and the way it has been shaped by, and shaped, the diasporic experiences of a diversity of immigrant communities in North America.
Who delivers the goods to Haiti? Is it only coming from the US?
There are all sorts of ways and means for pepe to arrive in Haiti. Sometimes individuals in Boston, Miami or New York fill containers, or old cars, with clothes and put them onto boats destined for the port cities of Port-au-Prince, Miragoane or Saint Marc. Other times, people fill up bags with old clothes that they transport on the airplane when they return home to visit friends or families. Small scale pepe business people, might buy a whole bale at a warehouse in Florida and have it shipped over, where it would be received at the port by a business associate. Our sense is that most of it is coming from the United States these days – though some from Canada and France as well.
What does pepe mean?
That’s a good question. The complexity of what pepe means is what motivated us to make the film. It can mean all sorts of things and can at different times have the sense of a noun, a metaphor, an adjective, and an identity. Some of the connotations include: old clothes; free cloth; foreign goods that have already been used.
What sort of things can you get?
Everything.
A woman in the documentary mentioned some Haitians have spiritual apprehension toward wearing someone’s old clothes. Did you meet anyone who felt this way?
Yes we did – old clothes might well carry the spirits of their previous owners and people have many ideas about how to clean, or purify clothes –lemon juice, vinegar, dry cleaning and so on.
Have most Haitians learned to sew or is there a market for tailors?
We saw and spoke with many tailors advertising their services, though perhaps not as many as in years past. The tailors that we spoke with had a difficult time selling their original designs and traditional Haitian clothing. They were working altering pepe.
What other kind of jobs has the secondhand market created?
Sorting, storing, transport, as well as multiple stages of sale, re-sale and re-re-sale. However all this has to be seen in relation to the jobs that have been lost.
Did they really use clothes as currency at one point?
In a sense. . . but we wouldn’t say “as currency” – more like “in the place of currency.” When the paper or coin currency of a nation is unstable and in short supply, it is not uncommon for a good (and often a relatively plentiful good) to take the place of currency – via a kind of generalized barter.
Film screening at Garment District in Cambridge, Ma.
Are there controls in place to keep people from sending over real junk, such as inoperable gadgets or stained items? Do they recycle unwanted things?
As far as we could tell, there was a lot of “junk” being sent over. Even pepe cars marked “no brakes” on their windshields. However, appliances or cars might be used for their parts. Stained clothing might be used as rags or upholstery stuffing. Haitians are very resourceful in ad-hoc engineering and repurposing. That said, we did see an incredible amount of trash and pollution. It was hard to tell whether this was due to the lack of sanitation services or the flood of discarded pepe.
What does the pepe market look like?
First off, we should note that you can find pepe for sale on pretty much any street in Haiti. It seemed as though pepe lined the sidewalks with small-time vendors selling a few things by hanging them up on the walls by the sidewalk. Then we also visited all types of dedicated marketplaces. Some were very concentrated with just clothing, and these were often by the ports, where the clothing would arrive. Sometimes the pepe would be sold within larger markets where you could also find food and other goods. Sometimes the clothing was sorted into different areas or by peddler’s specialty — you would have the used shoe guy over here and the lady that only sold t-shirts over there.
In one of the largest markets in Miragoane, just outside of the gates of the port, in the central town square — you had people opening up boxes and making preliminary sortings. In the Saline marketplace in Port-au-Prince, there was an incredible expanse of peddler/tailors set up with sewing machines, sitting among mounds of clothing, under tents sewn together from fabric scraps and old blankets. It gave us a very visceral sense of the flow of goods and the ways in which they were being altered.
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