Friday, November 18, 2016
#UPWeek | #ReadUP | University Press Week: Meet our first director and get a preview of this weekend's Avant Museology, a collaborative two-day symposium.
Today's post is published in connection with University Press Week, which is organized by the Association of American for University Presses (AAUP). University Press Week was first declared in 1978 by U.S. President Jimmy Carter. More background on #UPWeek can be found here. Likewise, in connection with Give to the Max Day (an initiative to support Minnesota nonprofits on Nov. 17), we published a piece on the early history of University of Minnesota Press, whose first director was Margaret S. Harding—the first woman director of any university press in the country.
As a university press, community is at the center of our mission, and below, Posthumanities series editor Cary Wolfe demonstrates one of our commitments to our communities: a two-day symposium, Avant Museology, that is a collaboration with Walker Art Center and e-flux, which begins on Sunday.
BY CARY WOLFE
Posthumanities series editor
The University of Minnesota Press’s co-sponsorship of Avant Museology (a two-day symposium co-sponsored with e-flux and the Walker Art Center) showcases how art, architecture, theory, and philosophy can make common cause and how the Press's Posthumanities series occupies a unique role in bringing theorists and artists into conversation. The series has long been committed to the idea that theorists, philosophers, and scholars—working as they do in the relatively impoverished medium of words and texts—have much to learn from artists, designers, architects, and others who work in rich, multidimensional media that allow a kind of non-analytical, non-propositional form of conceptualization of the problems and questions that animate theory and criticism today: questions of the place of the human in relation to other forms of life; the past, present, and future of the planet; and how technology is informing these in ever more visible and dramatic ways. Institutions such as the Walker Art Center and the University of Minnesota Press have a key role to play in supporting and sustaining these increasingly interdisciplinary exchanges; and many of the volumes in the Posthumanities series—now at 39 titles—take up the relationship between art, architecture, design, and theory, including Timothy Morton’s Hyperobjects: Philosophy and Ecology after the End of the World, and series editor Cary Wolfe’s What Is Posthumanism?
On Monday, November 21, at 3:45, Wolfe and Morton will engage in a free-wheeling conversation at the Walker Art Center on the topic “Avant What?” Morton and Wolfe will explore the idea of the avant and the various ways in which avantness has historically been incarnated in art, literature, music, and culture. Both authors will discuss the relationship of the idea of the avant to their own work and the extent to which it is or isn’t a useful way to think ideas of time and temporality, newness and oldness, chronology and succession, beforeness and afterness, and the layered, textured, multi-species, ontologically diverse spaces in which culture (and not just human culture) happens: Morton in relation to his writings on literature, art, music, and ecology in landmark texts such as Ecology Without Nature, The Ecological Thought, Hyperobjects, and Dark Ecology, and Wolfe in relation to his work as both author (Critical Environments, Animal Rites, What Is Posthumanism?, and Before the Law: Humans and Other Animals in a Biopolitical Frame) and founding editor of the Posthumanities series at the University of Minnesota Press. The Posthumanities series, in which Morton’s book Hyperobjects appears, made a point of disturbing our habitual ways of thinking about this set of questions around temporality, chronology, and succession by republishing as its very first volume in 2007 Michel Serres’ landmark work in science and literature from 1980, The Parasite—a commitment that continues through series titles such as the new translation of Jakob von Uexkull’s pathbreaking text from 1934, A Foray into the Worlds of Animals and Humans, published in the series in 2010. Like the concept of the “avant” as reframed by Morton and Wolfe, then, the “post-” of the Posthumanities series designates not a simple temporal succession of the “before” and the “after,” the “new” and the “old,” but rather a recursive temporality in and through which the past and the present constantly reshape and renew themselves and their genealogical relations. And in this more complex genealogical space, something “old” or “past” may, paradoxically, reveal itself to be new and even “avant” in relation to the habits, conventions, and orthodoxies that shape our present modes of thought.
More about Avant Museology, including a complete schedule of sessions.
As part of University Press Week, four members and collaborators have new blog posts today:
University of California Press
Seminary Co-op Bookstores
University of Nebraska Press
University of North Carolina Press
Wednesday, November 16, 2016
BY DAMIEN SOJOYNER
Assistant professor of anthropology, University of California, Irvine
At the July 2014 Compton Unified School District (CUSD) board meeting, an ordinance was passed that paved the way for CUSD police officers to carry AR-15 semi-automatic rifles on school campuses. For those unfamiliar with the AR-15, it is a military-grade assault weapon that produces enough energy to shred human bones. The rationale from the school district was based upon public safety and dubious claims of imminent threats. Setting aside the fact that studies have shown that the presence of armed security forces creates unsafe school spaces, there is something profound about the adaptation of a law that would set into motion technologies reserved for the most severe acts of violence, such as war, as normal day-to-day engagement with youth.
A major caveat of the story of course is that Compton is not just any school district and these laws did not spring forth out of a vacuum. The children who attend school in CUSD are the descendants of migrants—Black southern migrants who made their way westward during the middle of the twentieth century and migrants from Mexico and Central American countries such as El Salvador, Guatemala, and Honduras. Void of any sustainable formal economic foundation, the living-wage jobs that did not require a college education and were once plentiful during the 1960s and 70s have long vacated. The cumulative effect of decades-long budget cuts have gutted a much-needed social and health infrastructure resulting in astronomically high rates of death caused by preventable health calamities. The school district also has had a decades-long fraught relationship with the California Department of Education, as for nearly ten years the district was taken over by the state governing board for issues related to financial mismanagement and testing protocols. Schools within the district have lost accreditation and the district has become a prime target by charter school enterprises for a wholesale takeover.
Yet Compton, while unique in many ways, is not exceptional. The story of Compton is the same as the stories of neighboring cities and communities throughout the south central region of Los Angeles County. Yet a major question that lingers is why has the solution been a ramping up of a permanent and increasingly powerful police state upon Black schools in Los Angeles County? The rationale that has garnered the most attention to date is the narrative of the school-to-prison pipeline, in which schools disproportionally target non-white (mostly Black) students for issues of disciplinary force. These issues range from school policing to matters of detention, suspension, and expulsion. The effects of these actions have lead to a proverbial funneling mechanism that pushes students out of the embrace of the school and into the clutches of a vast prison system.
While the school-to-prison pipeline is well-intentioned, as a matter of historical, social, economic, and political consequence it is severely flawed. For example, what is to be done by the fact that Black schools in Los Angeles County were already well on their way to being staffed, patrolled, and governed by an alliance of police and school district officials before the dawn of prison expansion? How we do account for the countless individuals who do finish formal schooling and still end up in the clutches of prison? Given the violent history (and recent past) of education in the United States, why are schools depicted as the safe spaces from menacing walls behind prison bars? Very simply, the school-to-prison pipeline model does not help us address fundamental issues that are the core of the relationship between schools and prisons.
In its place, I argue that we should develop models that take into account the multifaceted nature of state structures such as prisons and public education. My preferred model is based upon the principle of enclosures. The most readily conjured vision of an enclosure is something that limits pathways. Whether it is a fence, wall, or policies that create impediments, enclosures function to prevent action, movement, and freedom. A central aspect of the enclosure model is that it is not static. It provides breadth to understand how in some instances schools may have informed by prisons and in others, how schools have shaped prisons. Yet it also provides space to map out the distinct manner in which they developed independently of each other and yet are similarly affected by larger structural forces such as religion.
A key facet of the enclosure model is to situate the development of schools and prisons within the context of society that is responding to the actions of Black people. The importance of tracing the genealogy of Compton, for example, extends beyond the boundaries of stated geography. These neighborhoods and communities carry with them a historical past that has intimate knowledge of state-sponsored violence. A violence that is connected to lynchings, church burnings, land dispossession, and externally funded military coups. A violence that was meted out in response to particular organizing efforts to establish spaces beyond enclosures.
This leads us back to the carrying of AR-15s on school grounds. We have to move beyond an analysis that looks at these incidents as simply too many police and understand that the institution of police on schools is located within a historical and contemporary contestation over enclosures. Without being flippant, police are merely the heavy hand enacted to maintain control over an institution (education) that has been hotly contested since its inception. It is then up to us to do the heavy lifting and figure out how and why education and prisons have developed into a seemingly symbiotic relationship. Let us move beyond convenient, simplistic narratives about both schools and prisons and wrestle with the unsettling matters of history that cannot be contained by a catchphrase or slogan.
First Strike: Educational Enclosures in Black Los Angeles. He is an assistant professor in the Department of Anthropology at the University of California, Irvine. He researches the relationship among the public education system, prisons, and the construction of Black masculinity in Southern California. His writing has appeared in Transforming Anthropology; Race, Ethnicity, and Education; and the Berkeley Review of Education.
Monday, November 14, 2016
Dedication and imagination and belief in knowledge do matter.
To have known Margaret Harding was to have been reassured about the significance of these things and about ourselves for respecting them.
To have known Margaret Harding was to have been reassured about the significance of these things and about ourselves for respecting them.
—John Ervin, Jr., Director, University of Minnesota Press, 1957–1989
I never met Margaret S. Harding, but I do know she was many things. Feminist. Teacher. Wife. Reader. Mother. And by 1927, she’d accomplished many things—she’d earned a master’s degree in history and had taught in high schools across the Midwest; she’d helped organize a teacher’s union and had become its first national secretary, she’d worked and marched in support of women’s right to vote. And in 1927, the recently widowed, 43-year-old mother of three added a twofold accomplishment to her growing list: first director of the University of Minnesota Press and first woman director of any university press in the country. Over the next 26 years—the first decade of which coincided with the Great Depression, when money for everything was scarce—she established a press that to this day actively seeks to make the very best and newest ideas in scholarship both accessible and affordable, to celebrate our region without provincialism, and to create books that nurture curiosity and inspire wonder in readers of all ages.
Understanding the challenges faced by nonprofit university presses even during times of plenty, Margaret’s family established the Margaret Harding Memorial Endowment to help support the work of women writers. Since 1973, the gift has helped make possible decades of books by women, including The Essential Ellen Willis, winner of a 2015 National Book Critics Circle Award—a book that perfectly exemplifies Harding’s feminist spirit and commitment to giving voice to writers and scholars who might otherwise not have one, two qualities that still guide the Press today.
“It was her deepest belief that education would be the salvation of mankind; and education, in her view, meant books—books for everyone, books as the staff of life and of the human spirit,” her daughter concluded at Margaret’s memorial. Margaret’s many gifts—the gift of her dedication, time, expertise, and money—are why we have been, but your many gifts as readers, scholars, and donors are why we are.
Give a gift today.
Molly Fuller, Outreach and Development Manager
Friday, November 11, 2016
Press staff feature: A guide to the Twin Cities for American Anthropological Association meeting attendees (or anyone who finds themselves looking for Twin Cities advice from people who live there)
|The Stone Arch Bridge, which crosses the Mississippi River in downtown Minneapolis.|
Dear conference attendees: The University of Minnesota Press welcomes you to the Twin Cities for the 115th American Anthropological Association meeting! We hope you enjoy your time here and have a chance to escape the Convention Center to experience everything the cities have to offer. Minneapolis is a walkable city with some of the best green spaces and parks in the country (there are 22 lakes within the city limits of Minneapolis) and stunning views of the Mississippi River, which cuts through downtown (over the only falls on the river and through its only gorge). We also are home to a vibrant and hip music scene (First Avenue, where the late great Prince filmed Purple Rain, is just down the street), world-class art, and great theater. And skip the usual conference chain restaurants to explore the amazing dining scene here, including adventurous global cuisine and farm-to-table experiences paired with a crazy craft beer scene.
For those venturing beyond the confines of the conference hotel and convention center, some of us at the Press put together a handy little guide for venturing out and exploring all that the Twin Cities has to offer.
Jason Weidemann, Editorial Director
Download a printable version of our guide.
EASY PLACES TO GRAB A DRINK AND/OR DINNER NEARBY
If you don’t have the time or energy to explore the city (and I’m often guilty of this after a long day of conferencing), here are a few places that are likely near your hotel and within a 5- to 8-minute walk from the convention center. While these may not be the pinnacle of the Minneapolis scene (with the exception of the jazz music at the Dakota), they’re reliable standbys and all offer late-night options for when those academic conversations linger into the night . . .
Irish pub that features an 80-foot mahogany bar and numerous nooks and crannies (check out the Kissing Room). Their Guinness pours are good, and if you need something more substantial, try their pot roast, bangers & mash, or fish & chips. It can get busy during happy hour, but the space is large, and there’s usually room at the bar. Good brunch, too.
931 Nicollet Mall, Minneapolis, MN 55402
Come for the excellent selection of beers on tap, stay because it’s just easier than finding another place to have dinner. They seem to have an obsession with meatballs for those of you who are meat eaters. Vibe trends a bit more alternative, especially when it is after happy hour, which is a nice break from the typical downtown vibe.
89 S 10th St, Minneapolis, MN 55402
Dakota Jazz Club
Operating as a jazz club but also featuring wonderful cocktails and food. Often have reasonably priced jazz shows, especially if you’re willing to go after 10 p.m. They have a great happy hour from 4-6 p.m., Monday through Friday, and 10-1 a.m. Friday through Sunday. Normally a bit quieter and more intimate setting that has fewer downtown “bros.”
1010 Nicollet Mall, Minneapolis, MN 55403
A very good hotel bar/restaurant that features a lower-level “Library Bar.” Quiet, intimate, cozy, it’s a great place to unwind after a hectic day. They have a variety of non-alcoholic cocktails, too, that are more inventive than just soda water + lime, as well as kombucha on tap.
901 Hennepin Ave, Minneapolis, MN 55403
—Danielle Kasprzak, Humanities Editor
TOP EAT STREET SPOTS
Nicollet Mall passes by the Minneapolis Convention Center, where it continues south. Colloquially known as “Eat Street,” you’ll find a wealth of food and drink options stretching from 15th Street down to 28th Street. Here are my favorite spots, all a short walk or cab ride from the meeting.
Evergreen has two things going for it: some of the best, most authentic Taiwanese food in the Midwest (so say the critics), and an approach to vegan and vegetarian cooking that doesn’t treat meatless dishes as an afterthought. Vegan egg rolls, vegan wonton soup, and lots of mock meat dishes. It’s a little bit hard to find—in a basement, below a flower shop. But it’s a great spot for folks on a budget.
Evergreen Chinese Restaurant
2424 Nicollet Avenue. Minneapolis 55404
Black Forest Inn has anchored the corner of 26th and Nicollet for over 50 years. While it’s the ideal place to get your fix of spaetzel, schnitzel, and cabbage in various stages of fermentation, this is also a good choice for a post-conference drink in the bar. Be sure to check out the enormous photograph hanging there, “The Generals of the Daughters of the American Revolution,” which Richard Avedon gifted to his favorite South Minneapolis bar. Look closely, and you’ll see the bullet holes a bar regular added in 1986. Upon holstering his pistol, he explained, “That photo always bugged the hell out of me.”
Black Forest Inn
1 East 26 Street, Minneapolis 55404
Glam Doll Donuts is just around the corner from the Black Forest Inn. It hasn’t been open nearly as long, but it’s already just as much an institution. Badass donuts made by badass women, each one a little edible idol of confection. In addition to bacon-flavored creations, they also have a large selection of vegan donuts (fried in soy and cottonseed oil). Plus, they deliver via bicycle, including to the convention center and hotels (if it’s snowing, remember to tip your delivery person extra!).
Glam Doll Donuts
2605 Nicollet Avenue. Minneapolis 55408
Quang Restaurant is the perfect antidote to those cold, dark November nights in Minneapolis. The dining room is large, spare, and always busy. Super fast, super cheap, and super delicious. There are several restaurants on Eat Street that serve solid pho, but this one is my favorite.
2719 Nicollet Avenue. Minneapolis 55408
—Jason Weidemann, Editorial Director
TOP FIVE COFFEEHOUSES (KINDA) CLOSE TO DOWNTOWN MINNEAPOLIS
Blackeye Roasting Co.
Tucked away in the downtown skyway system, Blackeye Roasting Co. is a hidden coffee gem. Their recently opened bar boasts some of the best coffee around these parts: nitro-infused cold brew coffee/tea, kombucha on tap, and a smooth espresso blend make it a must-visit. With unpretentious but skilled baristas (one of whom recently won a local latte-art throwdown), Blackeye is for those who like their coffee simple but perfect.
330 2nd Ave South #210 Minneapolis 55401
Five Watt Coffee
Of the coffee shops/roasters in the Twin Cities, Five Watt Coffee is undoubtedly among the most innovative. Owners Caleb and Lee take a craft-cocktail approach to coffee with more than nine different signature drinks, almost all of which use their own homemade infusions and bitters. I recommend trying their lesser-known hopped Big Watt Brewer’s cold brew. IPA-lovers, you’re welcome.
3745 Nicollet Ave, Minneapolis 55409
Every day, 6am–10pm
Spyhouse Roasting Co.
Home base of Tony Querio, winner of this year’s SCAA U.S. Roaster Champion award, Spyhouse’s four cafes are well-loved for their consistency and quality. If you like your coffee roasted light with fruity or nutty flavors, Spyhouse’s beans—particularly their Orion espresso blend—will hit the spot. Also offers some of the best hipster-watching in town bar none.
907 N Washington Ave, Minneapolis 55401 (and three other locations)
Weekdays 6am–8pm, Sat 7am–8pm, Sun 8am–8pm
The newest coffee shop downtown, Penny’s offers savory and sweet crepes and delectable pastries in an airy, modern space—two of the shop’s huge, two-story walls are glass paneled from floor-to-ceiling. The house espresso blend from La Colombe—Philly-based roaster—brings a slightly smoky yet sweet flavor that’s amazing in a latte or cappuccino. A great breakfast spot!
100 Washington Square, 100 S Washington Ave, Minneapolis 55401
Every day, 7am–7pm
—Kenneth Wee, Production Assistant
FIVE FREE AND FREE-ISH THINGS TO DO IN MINNEAPOLIS THIS WEEKEND
Hang out on the Guthrie’s Endless Bridge
One of the best views of the Mississippi, day or dusk or night. You don’t need a ticket to sit on the famed theater’s rooftop terrace. The Jean Nouvel-designed architecture is also a site to behold: the facility holds tours (not free) on the third Saturday of the month at 10 a.m.
818 S 2nd St, Minneapolis 55415
Visit the first taproom in Minneapolis
Fulton Brewery opened the first taproom in Minneapolis in 2012. They give free tours most Saturdays, but unfortunately for this weekend, not the third Saturday of the month. Still, you will be doing yourself a favor to pop in, even if just to look around. The Sweet Child of Vine is a classic if you’re looking for some delicious hoppyness.
414 N 6th Ave, Minneapolis 55401
Take in the annual MCAD Art Sale
This event is an annual tradition for me. You can get first dibs on paintings, drawings, photography, mixed media, and even live-drawn anime by extremely talented and creative students by paying for entry on Thursday or Friday; on Saturday, attendance is free.
Minneapolis College of Art and Design
2501 Stevens Avenue, Minneapolis 55404
This always-free museum (except for ticketed exhibitions like Martin Luther: Art and the Reformation, happening now) is about a two-minute walk from MCAD, so you could park once and do both in one day.
Minneapolis Institute of Art
2400 Third Ave S, Minneapolis 55404
Tune in to The Current (89.3)
The Current is a local MPR outlet that features a great mix of new and old music along with local bands. Its Prince coverage is unparalleled, and their hosts are extremely down-to-earth and fun to listen to.
Not-free addendum: Avant Museology
A two-day symposium exploring the practices and sociopolitical implications of contemporary museology is happening on Nov. 20 and 21. Press authors Cary Wolfe and Timothy Morton are heading a session. The event is cosponsored by the University of Minnesota Press, e-flux, and the Walker Art Center. Tickets are $45, or $25 for members.
Walker Art Center
1750 Hennepin Avenue, Minneapolis 55403
—Maggie Sattler, Direct Mail and Web Marketing Manager
PLACES WORTHY OF AN UBER RIDE / FODDER FOR THE LULLS IN CONFERENCE CONVERSATION
1) The World’s Quietest Room. No, really. Like, Guinness award-winning lack of noise. This anechoic chamber boasts a background noise level of -9.4 dBA (for reference, 0 is perfect infant hearing), or more plainly it is 99.99% sound absorbent. Contact ahead of time to see about participating in a tour.
2709 East 25th Street, Minneapolis 55406
2) Orlin Triangle. Small wedges of green space pop up all across the city when a street bisects the grid system. Many of these tiny triangles are legit parks, managed by the park board, and Orlin holds the title of smallest park in Minneapolis, measuring about .01 acres. I don’t recall how big Leslie Knope’s infamous “smallest park” was, but I’d guess Orlin gives it a run for its money.
2200 SE Orlin Ave. SE, Minneapolis 55414
3) The Raptor Center. An animal rescue specifically for birds of prey where you’ll realize that these are the coolest animals you’ve never thought about. There’s a hawk named Casper that’s been there since I was ten.
1920 Fitch Ave., St. Paul 55108
3.5) The Minnesota State Fair. While you’re at the Raptor Center, consider taking a short walk to visit our fairgrounds. It’s not currently fair time, but you can still wander around the streets and pretend you’re exploring an abandoned town, because that’s exactly what it feels like.
1265 Snelling Ave. N., St. Paul 55108
4) The House of Balls. A wunderkammer open whenever the artist-in-residence (Allen Christian) is home, no matter the hour.
1504 S 7th St, Minneapolis 55454
5) Wild Rumpus. I don’t pick favorites when it comes to bookstores, but Wild Rumpus is amazing and hands down the most tourist worthy. It’s a children’s bookstore, but equally magical for adults. Chickens roam about the stacks, cats sun themselves in the storefront window, and all of the scary books are housed in a dark shed in the back (with the tarantulas). They have a well-curated adult section if kids books aren’t your thing, including a badass collection of graphic novels.
2720 West 43rd Street, Minneapolis 55410
5.5) Moon Palace Books. If I’m going to give a shout-out to Wild Rumpus, then I also need to tell you about Moon Palace, a wonderful, if less animal-filled, bookstore. It’s located on the former grounds of Wonderland, an amusement park in the early 1900s with a particularly unique attraction: premature babies. I promise this is slightly less twisted than it sounds—incubators were a new technology, and by allowing paying visitors into what was known as the Infantorium, the cost of the staff, care, and facilities was paid for, saving the lives of these babies at no cost to their families.
3260 Minnehaha Ave., Minneapolis 55406
6) Eden Prairie Center. I’m sure you’re wondering why I wouldn’t suggest the Mall of America if I’m going to promote something as universal as a shopping mall, but I have not one compelling reason but two: Mallrats and Drop Dead Gorgeous, which both had scenes filmed here. The interior has changed a bit since the ‘90s, but there is something undeniably enjoyable and singular about the people watching there.
8251 Flying Cloud Dr, Eden Prairie 55344
—Molly Fuller, Outreach and Development Manager
TAKE A BREAK FOR MUSEUMS AND ART
1. Weisman Art Museum, University of Minnesota
The art collection of the University of Minnesota resides in a stunning museum on campus, the Weisman Art Museum next to the Mississippi River and the campus student union. The museum was designed by Frank Gehry and is an amalgamation of silver shapes, angles, and spaces; the building has been called “Baby Bilbao” since Gehry worked out ideas for the Guggenheim Museum in Bilbao, Spain, at a much smaller scale here, in his first art museum. The galleries of contemporary art now feature the university’s permanent collection, which focuses on American modernist painting; avant-garde Latin American art; a variety of art (from photographs and sculptures to iron pours) inspired by the Mississippi River; and quirky sculptures and drawings based on psychoanalysis’s “talking cure.” Gehry’s Standing Glass Fish is also on display.
www.weisman.umn.edu. 333 East River Road, University of Minnesota campus, Minneapolis. 612-625-9494. Parking ramp at museum; ten-minute taxi ride; Metro Green Line. T, Th, F 10–5; W 10–8; Sa, Su 11–5.
2. Walker Art Center and Groveland Gallery, Minneapolis
It’s worth navigating your way through a construction zone to visit the Walker Art Center, Minneapolis’s renowned contemporary art museum and one of the premier modern art museums in the world. The galleries celebrate the Walker’s seventy-fifth anniversary with iconic works from its permanent collection, a “greatest hits” of twentieth-century art from Marcel Duchamp to Kara Walker. The Sculpture Garden is currently closed and very much under construction, but instead you can enjoy Avant Garden on Saturday, November 19, a terrific art gala to support the museum and its educational programs.
Right behind the Walker is Groveland Gallery. Located in the former mansion of a prominent nineteenth-century Minneapolis architect, Groveland Gallery features contemporary regional art, especially by artists from Minnesota. Landscape paintings and abstract works are currently on display in galleries in the mansion and in the carriage house.
www.walkerart.org. 1750 Hennepin Avenue, Minneapolis. 612-375-7600. Parking ramp at museum; twenty-minute walk (west on West 15th Street to Hennepin Avenue); five-minute taxi ride. T, W, F, Sa, Su 11–5; Th 11–9.
www.grovelandgallery.com. 25 Groveland Terrace, Minneapolis. 612-377-7800. Parking lot and street parking at gallery (or park at Walker ramp); half-hour walk or five-minute taxi ride. T, W, Th, F, Sa 12–5.
3. Bockley Gallery in Kenwood
This small art gallery represents many regional artists, including George Morrison, Julie Buffalohead, Jim Denomie, Pao Houa Her, Stuart Nielsen, and Norval Morrisseau. The current exhibition features the art of Frank Big Bear, a longtime Minnesota resident. After visiting the gallery, you can dine at The Kenwood restaurant next door, check out the fine-art prints and cards of Twin Cities scenes at FrameStyles around the corner, or wander a few more steps down the street and visit Louise Erdrich’s bookstore, Birchbark Books. To thoroughly experience the beauty of this neighborhood, continue walking on Twenty-first Street to Lake of the Isles, and complete your visit to Kenwood with a walk around the lake (approximately 45 minutes on a designated walking path), a favorite activity of locals.
www.bockleygallery.com. 2123 West Twenty-first Street, Minneapolis. 612-377-4669. Street parking; fifteen-minute taxi ride. W, Th, F, Sa 12–5.
birchbarkbooks.com. 2115 West Twenty-first Street, Minneapolis. 612-374-4023.
www.thekenwoodrestaurant.com. 2115 West Twenty-first Street, Minneapolis. 612-377-3695. T, W, Th, Su 8–9; F, Sa 8–10.
framestyles.net. 2107 Penn Avenue South, Minneapolis. 612-374-2420. M, T, W, Th 10–7; F 10–6; Sa 10–5.
4. American Swedish Institute, Minneapolis
This museum and cultural center is unique to Minneapolis and its strong Scandinavian heritage. The elegant mansion (often referred to as “the Castle”) was built at the beginning of the twentieth century by the owner of the largest Swedish-language newspaper in the United States. The furnishings and ornate decorations of the home are intact, including elaborate tile stoves in most rooms, a multilevel carved mahogany fireplace integrated with a balcony, a grand staircase, and a stained glass mural. Swedish glass art, woodworking, and textiles are on display, as is a large exhibit on holiday traditions in the Scandinavian countries. The award-winning café Fika offers meals, drinks, desserts, and, of course, excellent coffee.
www.asimn.org. 2600 Park Avenue, Minneapolis. 612-871-4907. Parking lot next to museum; ten-minute taxi ride. T, Th, F 12–5; W 12–8; Sa 10–5; Su 12–5.
5. Minneapolis Institute of Art
You could spend your entire time in Minneapolis exploring the extensive collections of this fine museum: Mia presents art from all continents, all historical periods, and all genres. Favorites of the locals include Rembrandt’s Lucretia, the Jade Mountain from eighteenth-century China, the Baroque inkstands, Charles Cordier’s Bust of a Nubian or a Kabyle and Raffaelo Monti’s Veiled Lady, photographs by Richard Avedon and Alec Soth, and the re-created rooms (really, wouldn’t we all be more productive if we had our own Studio of Gratifying Discourse?); the decorative arts galleries were Mick Jagger’s preference during his visit last year. Besides its permanent collection, the museum is now hosting a large exhibition on Martin Luther and art relating to the Reformation as well as exhibitions on American and international modernism, masks from Sierra Leone, watercolors by Seth Eastman, and paintings by Liu Dan.
new.artsmia.org. 2400 Third Avenue South, Minneapolis. 612-870-3000. Parking lots and ramp next to museum, street parking; five-minute taxi ride. T, W, Sa 10–5; Th, F 10–9; Su 11–5.
—Laura Westlund, Managing Editor
Click for a printable version of this guide.
Friday, November 4, 2016
Karen Pinkus is author of Fuel: A Speculative Dictionary, which is an idiosyncratic, speculative dictionary of fuels, real and imagined, historical and futuristic, hopeless and utopian. From "Air" to "Zyklon B," entries in this unusual dictionary include Algae, Clathrates, Dilithium, Fleece, Goats, Theology, Whale Oil, and many, many more. This dictionary can help scramble our thinking about fuel in order to open up potential ways of interacting with real and imaginary substances, by wrenching them out of narrative and placing them into an idiosyncratic dictionary to be applied by readers into new narratives.
Here, Pinkus adds an addendum to Fuel.
BY KAREN PINKUS
Since I completed my book, I've come across a number of headlines with some version of the following format: "Scientists discover X as a fuel."
Here are some fuels that didn't make it into the book.
* indicates an entry in Fuel.
Coffee grinds: Korean scientists discover a new source of fuel as they gaze into bottoms of their coffee cups! But wait . . . not fuel, exactly. More like a substance that could help bind methane* (natural gas), making it potentially more efficient to combust; waste as a coagulant for a fossil fuel that gets by on its name and its status as "transitional." Fuel from waste: it's the ultimate (alchemical) dream! What's the harm in dreaming? None, maybe, unless dreaming means disengagement from any thought about what we are facing. Good to the last drop.
Carbon dioxide (CO2): Speaking of waste and alchemy . . . scientists may soon turn pollution into fuel!  To be clear, carbon dioxide is already being subjected to a number of transmutations. For one thing, carbon (and its non-use) is traded as commodity in various markets. Some experts believe that a global carbon pricing scheme would make it easier to manage emissions. But if carbon is going to be buried or used for some practical purpose, it can't really be classified as "waste" (see carbon monoxide, below). Carbon capture and sequestration (one of the main techniques of geo-engineering) is already underway in various parts of the world and it is likely to be scaled up. Carbon could be buried (for future generations to release, or not), and/or used to enhance production of oil in low-yield wells. Icelandic scientists, injecting it into basaltic rock, have found it solidifies very quickly—it turns into stone! (Is this the reverse transmutation of early modern alchemy? A sign of the alchemist's bad technique or his bad soul*, depending on where you stand on the practice vs. theory spectrum?) Moreover, carbon dioxide is actually polyvalent. As Gökçe Günel writes, "Carbon capture and storage professionals acknowledge how the multiplicity of the molecule makes it difficult for them to produce carbon dioxide as a commodity, characterized by exchange and commensurability. Yet CCS professionals do not intend to create 'sameness' across the market. In formulating carbon dioxide as a commodity, they seek to create 'links' between the different existences of the molecule. In this context, the process of making carbon dioxide into a commodity is not a practice of flattening but rather 'linking' its various versions."  This observation is ever more important as the corporate and governmental management of carbon is becoming a reality.
But what if we could actually recycle carbon, turning it (back) into fuel? A group at the University of Illinois in Chicago is looking at capturing carbon dioxide from the atmosphere (perhaps using structures similar to Lackner leaves) and instead of sequestering it for some future generation to deal with, by a chemical process and through the use of the sun* as fuel, recycling it for an "infinite" loop of combustion. Leaving aside the biogeochemical aspects of this process, and noting that in Science, where they announce their findings, the authors make no broad critical or cultural claims other than to say that their discovery could have positive impacts on the environment, the use of CO2 as an efficient syngas is not an epistemological break, just a lucky break in the laboratory.
Carbon monoxide: "Biological wizardry ferments carbon monoxide into biofuel."  Scientists are working on the right combination of microbes to turn waste into ethanol. Wizards vs. alchemists? In Fuel I make a case for the alchemical analogy—with all of its historical, figurative, and cultural baggage—as crucial to thinking fuels, beyond the common sense of "magic." But we are in the era of Harry Potter and we should probably forgive some lack of linguistic rigor in everyday speech. Or should we? And then, can the microbes themselves be termed a kind of fuel since they do the energetic work of breaking down "waste"?
Cow manure: Recently, T: The New York Times Style Magazine ran a stunning series of photographs of a farm/museum in Nothern Italy that is transforming cow dung into biofuel and also into a new building material called merdacotta. Yes, you read right, the style section! A spread of aesthetically pleasing images including vats of shit painted in earth tones. The manager talks of "getting back to zero."
Dancing/stepping feet: Various new technologies placed in floor tiles (the Watt disco in Rotterdam, for instance) generate energy when people dance or step (triggering small photovoltaic cells).
Data: I recently gave a talk at the Humanities Lab of American University. There, Joshua McCoy suggested to me that data itself—by virtue of the fact that it is entered into a complex (and carbon-intensive) system and generates more data—might, somewhat perversely, be considered a fuel in the terms I set out in my dictionary.
Fish poop: A potential biofuel source for jet fuels currently under investigation by Boeing.
Hurricane: A Japanese company is working on capturing extreme wind* power (from hurricanes and typhoons, ever more frequent) in specially equipped turbines.
Tobacco: Oil could be extracted from (nicotine-free) tobacco and used as jet fuel, also helping growers who are suffering due to anti-smoking campaigns.
Urine: "Benzina addio!" ("Goodbye gasoline!") runs a headline from an Italian newspaper. La pipì will run cars, ships, turn on our computers, appliances, and so on. Give me a cup and let's get started! But as we read on, it turns out that energy might some day in the future be obtained from urine. Okay, good. But then, some vague language: "used as an additive, urine combats the emission of CO2 into the atmosphere serving as a marvelous tool for the environment and for our health."  So after it passes through a filter made of pure Sardinian Sheep's wool, Sardinian pee could—if the right technology comes along—be transmuted into a cleaner carburante fuel. Until then, let's keep waiting and hoping.
Fuel: A Speculative Dictionary (Minnesota, 2016), Bodily Regimes: Italian Advertising under Fascism (Minnesota, 1995), and Alchemical Mercury: A Theory of Ambivalence.
 Ironically, carbon dioxide was not classified as "pollution" when the 1970 The Clean Air Act was ratified, and this might be a loophole to undo the U.S.'s commitments under the Paris COP 21 accords. Via.
 Gökçe Günel, "What is Carbon Dioxide? When is Carbon Dioxide?," Political and Legal Anthropology Review. Vol 39, n. 1, 2016: 33-45. DOI: 10.1111/plar.12129. P. 33
 Headline from an article on Cornell University research project that has been experimenting to see what kinds of microbes might metabolize CO1 most efficiently. See: Blaine Friedlander, Cornell Chronicle, July 26, 2016.
 Sara Ficocelli, "Benzina Addio," La repubblica. 13 November, 2013. I am grateful to Lia Turtas for pointing out this article and alerting me to the work of Edilana's green businesses.