“The process, known as natural organic reduction, turns a corpse into two wheelbarrows’ worth of soil in four to six weeks. The body is placed in a reusable hexagonal steel container along with wood chips, alfalfa and straw. By carefully controlling the humidity and ratio of carbon dioxide, nitrogen and oxygen, the system creates the perfect conditions for a class of heat-loving (thermophilic) microbes that dramatically accelerate the normal rate of decomposition.
“It’s a bit of a surprise that when the microbial activity starts up and there’s enough feedstock, a whole different class of organisms, called thermophilic organisms, become active,” said Carpenter-Boggs.
“The pilot found that everything, including bones and teeth, is reliably transformed into compost (non-organic materials such as pacemakers and artificial hips are screened for and recycled). The soil was also found to contain low levels of coliform bacteria, an indicator of biological safety, meaning that relatives could safely scatter their loved ones’ remains like ashes, or use them to plant a rose bush or fertilise a vegetable patch.
“The process reportedly uses an eighth of the energy of cremation. According to Carpenter-Bogg, cremation in the US produces as much CO2 as burning 800,000 barrels of oil – for an individual, that is equivalent to taking a flight from London to Rome.”
Text: Hannah Devlin, Human composting could be the future of deathcare, Guardian UK.
“Since the Chicago World’s Fair of 1893, world’s fairs and expositions returned continuously to the concern with creating idealized cities. The Chicago World’s Fair was especially significant in establishing what would later become integral not only to the logic of expositions, but to theme parks like Disneyland and EPCOT and urban destinations like Odaiba that would follow in their wake: in all instances, a ready-made ideal city was created, one that was technologically driven and reliant on commercial imperatives and popular culture. As James Gilbert has explained when discussing early exposition visitors, ‘the visible future they encountered was a carefully engineered vision, a prophecy […] of the coming relationship between work, leisure, and culture’. But unlike the dystopian futures often delineated in science fĳiction, in the future visions of the expositions, the inclusion of technological and scientifĳ ic innovation within the social environment was intended to inspire the creation of utopian spaces.
“Events like the Chicago World’s Fair of 1933-1934 (also called the Century of Progress International Exposition) and the New York World’s Fair of 1939 took the first important steps not only in forging a relationship between sci- ence, technology, industry, and society, but also integrating these concerns with the visions and consumer pleasures offfered by science fĳiction and entertainment. Rydell explains that, in the wake of the Great Depression, ‘1930s scientists, confronted by a “revolt against science”, joined corporate backers of the fairs in trying to pin popular hopes for national recovery on the positive results expected from the fusion of science and business’. Specifically, combining the speculation familiar to science fĳ iction with the realities of the scientific and technological innovations of the time, these fairs specialized in presenting the public with future utopian realities made possible through technological advancement.
It was the New York World’s Fair of 1939 that became one of the most famous examples to showcase a new urban landscape, one that featured the utopian possibilities of technology and science. On the opening night, after Albert Einstein switched on the lights that would bring life to the fair’s motto – ‘Designing the World of Tomorrow’ – the fair proceeded to create a vision of a world in which ‘science could become a way of life and utopia would be nigh’. The fair showcased the latest technologies offfered by corporations (such as Rotolactor, an automatic cow-milking machine). Numerous other technological inventions were presented to an eager public as well: Voder, a synthetic human-speech device by AT&T; television sets by RCA, GE, and Westinghouse; and Elektro, a walking and talking robot by Westinghouse. However, it was the representation of a ‘city of the future’ that drew crowds by the millions…”
Text: Angela Ndalianis, Disney’s Utopian Techno-Futures: Tomorrow’s World That We Shall Build Today, in Tourist Utopias: Offshore Islands, Enclave Spaces, and Mobile Imaginaries, ed. Timothy Simpson, Amsterdam University Press, Amsterdam, 2017.
“Maybe that’s why we’ve never heard a peep from anywhere. It’s not just that the universe is too big. Which it is. That’s the main reason. But then also, life is a planetary thing. It begins on a planet and is part of that planet. It’s something that water planets do, maybe. But it develops to live where it is. So it can only live there, because it evolved to live there. That’s its home. So, you know, Fermi’s paradox has its answer, which is this: by the time life gets smart enough to leave its planet, it’s too smart to want to go. Because it knows it won’t work. So it stays home. It enjoys its home. As why wouldn’t you? It doesn’t even bother to try to contact anyone else. Why would you? You’ll never hear back. So that’s my answer to the paradox. You can call it Euan’s Answer.” Later: “So, of course, every once in a while some particularly stupid form of life will try to break out and move away from its home star. I’m sure it happens. I mean, here we are. We did it ourselves. But it doesn’t work, and the life left living learns the lesson, and stops trying such a stupid thing.” Later: “Maybe some of them even make it back home. Hey—if I were you, Freya? I would try to get back home.” Later: “Maybe.”
“The European Space Agency estimates that 128 million objects smaller than 1 centimeter are orbiting Earth, along with another 900,000 objects that measure 1 to 10 centimeters. Any space elevator would be subject to collisions with these objects, so it would have to be capable of withstanding or out-manoeuvring them…”
“The classical space elevator is a really tough problem because the Earth’s gravity field is so great that you need such strong materials that we don’t have right now,” Jerome Pearson, an aerospace engineer who first proposed the lunar elevator in 1977, told NBC News. “On the other hand, you could build a lunar space elevator with existing materials right now.” Unlike a space elevator that rises from Earth, a lunar elevator would not use centrifugal force. Gravity would do all the work…”
“Drake may may have channelled James Turell‘s art art for a music video, but Kanye West—never one to be outdone—is releasing a film set in the Light and Space artist’s most famous installation.
“In October, West will release an IMAX film shot this past summer inside Roden Crater, Turrell’s ongoing land-art installation within a hollowed-out volcano in Arizona’s Painted Desert. Titled Jesus is King after West’s forthcoming album, the documentary includes footage of West performing in the crater, giving viewers a rare look at Turrell’s masterpiece, which has to this point only been seen by a select few people. West first saw Roden Crater late last year. The experience was so “life changing,” as he wrote on Twitter, that he subsequently donated $10 million to the project.
“Since then, West has held one of his “Sunday Services,” a weekly spiritual gathering that he hosts, at the dormant volcano-cum-art-project—documentation of which will appear in the film. West’s services feature a rotating choir of gospel singers who perform both classics and covers while clad in baggy Yeezy outfits. The events are generally invite-only and guests are often asked to sign non-disclosure agreements. West has held services in Chicago, Detroit, Los Angeles, and numerous other cities since January.”