Man-Mediated Minerals

“Robert Hazen, a mineralogist at the Carnegie Institution for Science, and his colleagues tallied up the number of minerals on Earth only to discover that a large number have been created, thanks to human activities. Although minerals, by definition, must form via natural processes, Hazen’s team discovered 208 minerals mediated by humans—they did form naturally but in places such as man-made mines, where unnatural humidity or fires from mining operations created new minerals along the mine walls. Other examples might be even harder to find, unless you are a deep-sea diver; when bronze or brass artifacts sink in a shipwreck, for example, they interact with the seafloor to create novel, man-mediated minerals.

“Perhaps more striking are mineral-like compounds—substances that would be characterized as minerals if they were not completely man-made (rather than human-mediated). Hazen’s team created a long list of these as well—everything from synthetic rubies and diamonds to ceramics, brick, cement, batteries and certain components of cell phones—and they suspect there are hundreds of thousands of varieties, too many for them to count.

“Such dramatic changes will not go unnoticed if a future geologist finds herself digging up layers of sediment from an ancient city. “These are the real global marker of our age,” Hazen says. Not only because a city’s infrastructure contains many of these man-made minerals but because it also contains natural minerals that were quarried in locations across the world, creating concentrations that would not be found naturally. Even if sea levels rise 300 feet and cover coastal cities, those minerals will still be visible in the sedimentary record. That’s because landmarks like the Washington Monument and the Smithsonian will collapse into piles of rubble—signatures that are later preserved as highly unusual lens-shaped pockets underground, distinct from their surroundings in both shape and minerals. The Washington Monument, for example, will eventually be a lens-shaped pocket composed of limestone where no other limestone is found. And the pocket that was once the Smithsonian will contain so many rare minerals that they could not possibly have formed so close together in nature. To boot, they will be surrounded by the vast array of the man-made minerals we use every day. “There is nothing at all like this in the geology of the past 4.5 billion years on Earth,” Zalasiewicz says. “It is tragically different.”

Text: Shannon Hall, Found: Thousands of Man-Made Minerals—Another Argument for the Anthropocene, Scientific American.

Pic: “Fordite, also known as Detroit agate or Motor Agate, is old automobile paint which has hardened sufficiently to be cut and polished. It was formed from the buildup of layers of enamel paint slag on tracks and skids on which cars were hand spray-painted (a now automated process), which have been baked numerous times.” – Wikipedia

Dead Immensity

Deeply Artificial Trees from artBoffin on Vimeo.

“Twenty million years ago Antarctica was beginning to freeze. We’ve investigated, thought and built speculations. What we believe happened was about like this.

“Something came down out of space, a ship. We saw it there in the blue ice, a thing like a submarine without a conning tower or directive vanes. 280 feet long and 45 feet in diameter at its thickest.

“Eh, Van Wall? Space? Yes, but I’ll explain that better later.” McReady’s steady voice went on.

“It came down from space, driven and lifted by forces men haven’t discovered yet, and somehow perhaps something went wrong then it tangled with Earth’s magnetic field. It came south here, out of control probably, circling the magnetic pole. That’s a savage country there, but when Antarctica was still freezing it must have been a thousand times more savage. There must have been blizzard snow, as well as drift, new snow falling as the continent glaciated. The swirl there must have been particularly bad, the wind hurling a solid blanket of white over the lip of that now buried mountain.

“The ship struck solid granite head-on, and cracked up. Not every one of the passengers in it was killed, but the ship must have been ruined, her driving mechanism locked. It tangled with Earth’s field, Norris believes. No thing made by intelligent beings can tangle with the dead immensity of a planet’s natural forces and survive.

“One of its passengers stepped out.”

Text, John W. Campbell, Who Goes There?

Video: Deeply Artificial Trees, Vimeo. “ This artwork represents what it would be like for an AI to watch Bob Ross on LSD (once someone invents digital drugs). It shows some of the unreasonable effectiveness and strange inner workings of deep learning systems. The unique characteristics of the human voice are learned and generated as well as hallucinations of a system trying to find images which are not there.”

Really, really, really, really great



“Anytime we’re talking about cultural objects like Avatar, in a corporate dominant culture, we are playing with fire, clearly. When the so-called indigenous is so-called natural, the extraordinary naturalization of the indigenous, no matter how talented, no matter how really, really, really, really great, no matter how many inventions they may have invented – but it requires the other half of the equation. Which is a particular production of whiteness. Even though there were plenty of people of colour occupying the category of whiteness in that film. Whiteness is a space to occupy for those who are associated with the technologies of conquest, extraction, commerce, etc. and that strikes me. Both of those two require each other. And actual, living people believe these things of each other, to damaging degrees. Such that I know no small number of white people, some of whom I’ve found in my own skin, at various moments, you know, who somehow feel less able to speak up, in a critical way, in a conversation with someone who is produced as more natural. Whether it’s in an indigenous rights discussion, a discussion about who owns race, class, and gender properties, and so on, and so on. The very much in play ways that these story-fragments continue to set people out around these nature/technology contrasts, to perpetuate the trouble. People actually inhabit these imagined positions and do it to one another, including doing it to oneself. So, take the hyper-murderous, almost-impossible to kill – the machine enemy right out of the Alien sequence, you know that particular kind of killer robot that shows up, in how many films? It was in District 9, it was in Alien – it shows up, it’s a required visual object that does in my view, a whole lot of race production work. It is one of the technologies of the production of this thing I’ll call whiteness. Whether white people occupy that position or not, or so-called Euro-people.”

Text: Donna Haraway, The Dialogical Avatar, &&& Journal