Thoughts on The Color of Law

Richard Rothstein's recent book The Color of Law looks at the history of racism in US housing policy. It focuses especially on African Americans, and the constitutionality of these policies in light of the reconstruction era amendments that ended slavery.

Throughout the book, Rothstein makes a big point of the difference between de jure (in law) segregation and de facto (in fact) segregation. The purpose of the book (belied in its subtitle: "A forgotten history of how our government segregated America.") is to remind us that residential segregation did not just happen because private citizens expressed discriminatory preferences. Instead, he lays out the gory details of how government at all levels — through laws, official policies, financing terms, and officially sanctioned lack of enforcement — has enacted de jure segregation for more than a century. This has often included creating and enforcing segregation where it did not previously exist, in the West, and in the northern industrial centers as successive waves of migration from the South took place in the first half of the 20th century. He argues that because this segregation was perpetrated by the government, with the full force of law, we have a constitutional obligation to ameliorate the harm it has done to generations of African Americans.

The book felt kind of like a hybrid between Michelle Alexander's The New Jim Crow (about successive & evolving systems of black subjugation after the end of slavery, especially drug-war mediated mass incarceration) and Kenneth T. Jackson's Crabgrass Frontier (a history of suburbanization in the US). One of the main themes in The New Jim Crow is the remarkable adaptability of our systems of race-based social control. We outlawed slavery, but just a few decades later, Jim Crow was in full force, disenfranchising blacks throughout the south. The Civil Rights reforms of the 1960s outlawed many Jim Crow practices, but it wasn't long before the War on Drugs and mass incarceration had filled the gap.

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Making Boulder into one of Jan Gehl’s Cities for People

A couple of months ago I finished reading Jan Gehl’s book Cities for People, and I’ve seen Boulder differently ever since. I’m both more frustrated with it as it is today and more excited about what it could be in 20 years. Where before I might have been diffusely irritated by or in love with a place, I’m now explicitly aware of details that enhance or degrade its functionality for humans. I can’t recommend the book highly enough. It’s short, it’s filled with pictures, and unless you’re a die-hard motorist or collapsitarian neo-primitivist, I think you’ll find its case persuasive. You can watch him give a talk about the book in NYC on YouTube too, if you want another preview.

Copenhagen Cafe Culture

Gehl is a Danish architect who’s lived and worked in Copenhagen for the last 40 years, designing urban spaces for human beings. His first memory of the bicycle is riding away from the city as a small boy with his father, all day and all night, to escape the Nazi occupation. In his childhood, Copenhagen was dominated by pedestrians and bicycles. By the time he’d become a young man, the city was being occupied not by an invading army, but by automobiles. He was trained as a modernist architect, in the tradition of Le Corbusier’s isolated towers surrounded by parklands and freeways — a tradition Gehl almost immediately rebelled against — but in the 1960s, few wanted to hear about cities for people. Somehow, human and humane cities were not part of society’s vision of The Future. A devastated continent was being re-built in the modernist mold, and re-designed to accommodate cars, but by the early 1970s citizens across northern Europe had begun to question that vision. A lot of the resistance to transforming Europe’s cities into automobile friendly spaces didn’t come from environmental concerns as we see them today. Rather, re-making cities to work well for cars ended up degrading the quality of urban life dramatically. Jane Jacobs said we’d either erode our cities with cars, or the cars would suffer attrition at the hand of good cities. Then the first OPEC embargo highlighted the economic risks associated with oil dependence. We chose erosion in the US, but many European cities chose attrition. Energy economics, the quality of urban life, and environmental concerns together were enough to convince these nations to re-consider their Modernist visions of the future, and they revolted against the automobile invasion.

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Renewable Energy Policy by Paul Komor

I just finished reading Renewable Energy Policy by Paul Komor (2004).  It’s a little book, giving a simplified overview of the electricity industry in the US and Europe, and the ways in which various jurisdictions have attempted to incentivize the development of renewable electricity generation.  The book’s not that old, but the renewable energy industry has changed dramatically in the last decade, so it seems due for an update.  There’s an order of magnitude more capacity built out now than ten years ago.  Costs have dropped significantly for PV, but not for wind (according to this LBNL report and the associated slides).  We’ve got a much longer baseline on which to evaluate the feed-in tariffs and renewable portfolio standards being used in EU member countries and US states.  I wonder if any of his conclusions or preferences have been altered as a result?  In particular, Komor is clearly not a fan of feed-in tariffs, suggesting that while they are effective, they are not efficient — i.e. you end up paying a higher than necessary price for the renewable capacity that gets built.   This German report suggests otherwise, based on the costs of wind capacity built across Europe.  Are the Germans just biased toward feed-in tariffs because they’ve committed so many resources to them?  NREL also seems to be relatively supportive of feed-in tariff based policies, but maybe this is because the design of such policies has advanced in the last decade, better accounting for declines in the cost of renewables over time, and differentiating between resources of different quality and utility.

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Sustainable Energy Without the Hot Air by David MacKay

What does a world without fossil fuels look like?  There are lots of different options, but none of them look much like the rich developed nations of the world today.  David MacKay’s approach in Sustainable Energy Without the Hot Air is to hold our rate of energy consumption constant, and explore the kinds of carbon-free energy systems that could satisfy that demand.  The uncomfortable conclusion he comes to is that if we want to run our world on renewables, the energy farms have to be comparable in scale to nations.  Comparable in scale to our agricultural systems.  This is because all renewable energy is very diffuse, and we use a whole lot of energy.

SunPower's Bavarian PV Installation

Just as an example, of all the renewable power sources solar is the most concentrated, and PV farms like the ones cropping up in Bavaria because of Germany’s generous feed-in tariff average about 5W/m2.  With better siting (the Sahara, Arizona) you can do a bit better, and there’s a little more efficiency to be eked out of the panels, but for large scale deployments, you’re not going to get above 10W/m2.  If you’re an average citizen of the EU or Japan, your 5kW of power thus demands 500m2 of land.  Multiply that by 700 million people in the EU, and you get the total area of Germany.  An average North American’s 10kW requires 1000m2.  Multiply that by 300 million people, and you get an the entire area of Arizona.

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Code 46 and the dearth of thoughtful science fiction

I recently watched Code 46 again.  When I first saw it a few years ago I didn’t like it very much, but this time it seemed more interesting.  The storyline doesn’t hold together very well, and from a scientific point of view there are some painful gaffes, but it’s at least attempting to explore some important present and near-future issues, which is more than I can say for most science fiction films.  That makes me sad, since I feel at its best, science fiction helps us understand how we interact with and relate to technology, and how technology changes the way we interact and relate to each other.  The fact that there’s so little mainstream science fiction trying to do this today is frightening.  We’re just blindly stumbling forward into the darkness.  Maybe the best thoughtful sci-fi I can recall from the recent past is Gattaca, which depicts in a very stylized way a future society which is starkly divided between those who are genetically enhanced and those who are not.  Gattaca is pretty clearly unconcerned with the details as opposed to the implications of its premise, and that makes it easier to gloss over whatever issues it has.  It’s less clear that Code 46 is this self aware, but at least on a second viewing, I was willing to give it the benefit of the doubt.  Be warned, there are spoilers below.

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Into Eternity by Michael Madsen

I am now in this place where you should never come.  We call it Onkalo.  Onkalo means hiding place.  In my time it is still unfinished, though work began in the 20th century when I was just a child.  Work will be completed in the 22nd century, long after my death.  Onkalo must last 100,000 years. Nothing built by man has lasted even a tenth of that time span.  But we consider ourselves a very potent civilization.

If we succeed, Onkalo will most likely be the longest lasting remains of our civilization.  If you, some time far into the future find this, what will it tell you about us?

It isn’t often that you find people seriously thinking about deep time in a concrete way.  Usually it’s abstract, just a thought experiment, not an engineering problem or a gut wrenching moral quandry.  But this is apparently not the case for the Scandinavians who have taken on the task of storing their spent nuclear fuel.  Finland has decided to go forward with permanent storage, in a typically responsible, deliberate, earnest Nordic way.

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Links for the week of June 4th, 2010

If you want to follow my shared links in real time instead of as a weekly digest, head over to Delicious. You can search them there easily too.
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The Sequence: a play about the Human Genome Project

It turns out that Pasadena has a wonderful little theater called The Boston Court.  It’s a non-profit organization, producing some classics, but perhaps more interestingly, also some first-run original pieces by SoCal playwrites.  Michelle saw an adaptation of the Mesopotamian Epic of Gilgamesh there last year, and we went and saw 1001, a story weaving the Arabian Nights with commentary on the modern Arab-Israeli coflict and the War on Terror.  The casts are essentially dedicated amateurs – the auditions page lists a $300 rehearsal stipend, plus $25/performance.  The space is so small that there is no need for amplified sound, and the sets are fairly minimalist.  They have student discounts and matinees, and late night salons for discussion after the plays are performed.  I have a hard time imagining a better setting and scale for theater.  Even better, it’s easy biking distance, and they seem to have a bent toward plays that are relevant to the modern world.

On Friday, we went to see The Sequence, by Paul Mullin, who has also written about Louis Slotin’s death during the Manhattan Project due to a criticality accident while “tickling the dragon’s tail’, and The Ten Thousand Things, an exploration of the meaning of deep time in human society, inspired by The Clock of the Long Now.  The Sequence is a play about the Human Genome Project, and the race between Craig Venter‘s Celera, and the publicly funded project headed by Francis Collins, to complete the sequence first, and also about a young journalist, Kellie Silverstein, who is covering the race, who struggles with her own genetic destiny, knowing that her mother died from breast cancer due to the BRCA1 mutation, which she likely also carries.  The Sequence was commissioned by the Alfred P. Sloan Foundation.  Ironically, Mullin cannot afford to be a professional playwrite, and instead works in a clerical position at Amgen to pay the bills.  Like Copenhagen, the play has only three characters.

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Khadak was one of those movies that I got solely because Netflix told me to.  The blurb provided was almost entirely cryptic:

Set in contemporary Mongolia, this imaginative fable follows 17-year-old Bagi, a nomadic shepherd who possesses untapped transcendental powers. After the military forces Bagi and his family to abandon their way of life and resettle in a mining town, he crosses paths with a beautiful coal thief who helps him find his destiny.

No trailer, virtually no reviews online.  I went for it anyway.  Mongolia is a wild place, I like wild places, and I like insights into foreign lands via film.  It’s certainly weird, but it was absolutely worth 2 hours.

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