Showing posts with label trivia. Show all posts
Showing posts with label trivia. Show all posts

Tuesday, February 11, 2014

Thoughts about Boxes from the Louisville Big Four Bridge


The ramp up the Big Four Bridge looking west towards Downtown Louisville

Forty-two workers perished while constructing the Big Four Railroad Bridge between 1888 and 1895. It served railway, industrial, and passenger traffic until 1969. And then it sat, idle and unused for forty years. Today, the Big Four Bridge is one of the longest pedestrian-only bridges in the world and spans the Ohio River between Louisville, Kentucky and Jeffersonville, Indiana. On either side of the bridge, gently sloping ramps spiral down into lovely new riverfront parks built on former industrial land and shipyards. When strolling the bridge and imagining the bustling riverboat traffic passing beneath the massive iron spans, imagining the brawling dockworkers, the shouts of factory men, the fading smells and sounds of the riverside stockyards, one wonders. What changed?

Why are there no longer so many chemical refineries, textile mills, riverboats and dockworkers hawking their trade along America's inland riverways? Why are so many inland riverfront parks being built on areas that were formerly railroad warehouses, brothels, and piers in cities spanning from Portland to New York? Why are the old warehouses being converted into chic industrial lofts and trendy restaurants, or lying abandoned, instead of housing wares? What changed in the 20th century to fundamentally rearrange the geographic relationship between ports and cities and labor and nations? When asked most people will grumble something about cheap foreign labor. But I think the answer, in large part, is containers.

The former riverboat and boxcar railroad transportation network of the late 19th century and early 20th century has been almost entirely displaced by multi-modal shipping, in which 40-foot standardized steel containers are seamlessly whisked between giant ocean-going container ships, specially designed freight railways, and trucks traveling America's interstate highways. It wasn't always like this.

The Box: How the Shipping Container Made the World Smaller 
and the World Economy Bigger [Left]. The Big Four bridge [Right].

According to The Box by Marc Levinson, starting in the late 1950s the humble steel shipping container revolutionized and reorganized the world economy. Prior to that time, industry often clustered near waterfronts in large port cities in order to minimize costs and time delays for receiving raw inputs and for shipping out finished goods for export. Loading and unloading ships was a labor intensive, time consuming, and dangerous process. Goods came in all shapes and sizes, from bunches of bananas, to barrels of liquor, to hogsheads of tobacco, to crates of medical supplies, to bales of cotton. Dockworkers would quarrel, frequently strike for increased wages, lobby for special protections to prevent competition from immigrant dockworkers, and often endure boom and bust cycles of too much work to handle or no work at all. Theft of dockside merchandise was rampant. Ships could languish tied to the docks for weeks, waiting to exchange cargo and set sail again. The romance of this hustle and bustle life of the wharf-side denizens has been told again and again in literature and in cinema. But the story of the enormous economic inefficiencies of the old way, and the revolutionary change brought about by the extremely low cost of modern container shipping, I think is widely under-appreciated.

Dockworkers unloading bananas at the wharves in New York in 1905
[Photo from Shorpy.com]

Longshoremen loading the Sternwheeler Georgia Lee 
with mixed cargo in Louisville, KY (1905)
[photo from Shorpy.com]

Today container ports can be largely automated and require relatively little human labor per ton of cargo to handle the containers. The turn-around time for a modern ocean-going container ship is measured in hours, not days or weeks. The resulting economic bonanza brought about by low-cost shipping, reduced theft and damage, and increased shipping speed has been one of the main driving forces reshaping the global economy. The reason for the shift of manufacturing capacity from Europe and America to Asia was not just about changes in the global costs of manufacturing labor, it was also about fundamental changes in the global costs of shipping.

A crane loading a container ship at the Port of Colombo in Sri Lanka

People often forget that humble innovations that completely change the living patterns of the whole world aren't always sexy, and they aren't always fast. World-changing ideas are not just about computers and rocket ships. It took half a century or more for the revolution in containerized shipping to rearrange the destinies of the waterfronts of Manhattan and Shenzhen, and launch those locations into completely different historical trajectories.

As you gaze down the Ohio River from the span of the Big Four pedestrian bridge in Louisville, or cast your eyes along the Thames from the base of the Tower Bridge, remember that we may have lost a little bit of the romance of the Dickensian docks and the Mark Twain riverboats. But we have gained so much more in livable city waterfronts, beautiful riverfront parks, less expensive imported goods and raw materials, and an increasingly integrated and thriving world economy. And for that, I'm thankful for The Box.

February Sunset at the Big Four Bridge in Louisville, Kentucky


Wednesday, December 12, 2012

Favorites from the Boston Museum of Fine Arts

Two weeks ago I was in Boston, MA, for the MRS (Materials Research Society) Fall Meeting at the Hynes Convention Center.  After the conference was over I was able to spend most of the day Friday at the Boston Museum of Fine Arts.  It is a lovely museum.

I took the hour-long "Art of the Ancient World" tour, and then explored the rest of the museum on my own.  One thing I learned that I did not previously know is that the Museum of Fine Arts (also known as the MFA) has one of the largest and most exquisite collections of ancient Egyptian art and artifacts in the United States.

Djehutynakht onions ancient egypt painting Boston Museum of Fine Arts

These masterfully done paintings are from the interior of the wooden outer coffin of Djehutynakht, who was a governor during the Middle Kingdom of Egypt (2040-1640 BC).  Apparently this piece is notable for the onion bulbs in the lower middle, which have shading to indicate their roundness, and the darker coloration for Djehutynakht's left leg (seated), again indicating some depth.  This is one of the earliest examples of shadow and depth in painted art.  What is also amazing is that this is on the inside of a sealed coffin, so it wasn't really artwork meant for the living to admire.

ancient egyptian wooden ships Boston Museum of Fine Arts Djehutynakht

These wooden ship models are also from the tomb of Djehutynakht.  I am always astounded that little delicate pieces of wood like this can not only survive for millennia, but they look like they could have been made yesterday.

In addition to fantastic Egyptian objects, there were many interesting Mesopotamian artifacts in the collection.  For example, here is a cylindrical carved seal from ancient Babylon:

Carved cylindrical seal from ancient Babylon (left) and its impression in plaster (right)

The cylinder seal is on the left, and an example of its impression in plaster is on the right.  The ancient Babylonians, Assyrians, and other cultures used these seals a bit like bar codes for shipping goods.  You rolled these seals into clay or wax as the cargo leaves, and you could identify the owner of the cargo at its destination by the presence of the distinctive seal.  It is amazing how beautifully and delicately these hard stone cylinders are carved, and they're carved in reverse in order to leave the correct imprints.

I managed to venture away from the ancient art and view some of the famous American and European artworks as well.  This famous painting by J. M. W. Turner is called "The Slave Ship." It caused quite the stir when it was painted and was very controversial for the grisly depiction of slave bodies and chains thrown overboard so the slavers could collect on insurance payments for injured and sick slaves who wouldn't be sellable. It was painted in 1840, about 20 years before the breakout of the American Civil War, so slavery was very much a hot-button political issue at the time.  This painting probably even sparked a lot of conversations and soul-searching that eventually led to the ending of slavery in America.

19th Century Painting MFA Boston Museum of Fine Arts

Mark Twain was a little critical of the composition of the painting, but his assessment actually hits pretty close to the mark for what this explosion of orangey yellow brown and red color evokes if you sort of squint at it from afar: "Slave Ship - cat having a fit in a platter of tomatoes."  I thought it was kind of cool that Mark Twain definitely stood in front of this painting during the 19th Century, though it was probably hanging someplace else at the time.

I really got drawn in by this painting of Berber King Mulay Ahmad painted by Peter Paul Rubens in 1609.  The artist must have loved this painting himself, because he kept it in his own collection for more than 30 years.  I don't know what it was about this guy, but the glistening of his eyes and the shimmery quality of the fabrics really got me staring.


This final painting is really fun.  It is called "Museum Epiphany III" by Warren Prosperi.  It's a bit of a "meta" art work because it is a painting of people viewing all the 19th century American artwork in the beautiful gallery surrounding it.  It is a bit like looking in a mirror that's not changing, or a photograph taken on a particular day in the gallery.  If they ever change the arrangement of works in the room, or the colors of the wallpaper, the effect wouldn't work anymore.  It is the only recent painting in the room (painted in 2012) and it kind of sneaks up on you in the middle of the other works with gratifying results.

Museum Epiphany iii by Warren Prosperi (2012) Boston Museum of Fine Arts, with surrounding gallery context

Tuesday, October 9, 2012

Mi sbagliavo su la capra

A trivia, questa sera, Deanna ha chiesto come si dice "goat" in italiano.  Ho riposto: "l'agnello."  Avevo torto!  L'agnello è "lamb" in inglese, e "goat" in italiano è "la capra," simile al segno zodiacale "Capricorno."  Non dimenticherò mai quella "goat" è "capra."  Almeno, abbiamo vinto il primo posto al trivia stasera!


Sunday, October 7, 2012

un piatto tipico di Cincinnati

Stasera, i nostri amici ci hanno invitato a cena.  Hanno servito "Cincinnati chili," un piatto tipico di Cincinnati.  È differente rispetto a chili "Tex-mex" o chili di ovest americano.  È non troppo piccante, senza fagioli, e servita su spaghetti.  La carne manzo è condito con cannella, cioccolato, e altre spezie miste.  Cipolla tritata, formaggio cheddar tagliuzzato, e pane all'aglio completano il piatto.  Questa era la prima volta a mangiare "Cincinnati chili."  È stato squisito!



Tuesday, September 18, 2012

a trivia: Sherlock Holmes

Questa notte, una categoria per trivia al bar di Biblioteca è stato "Sherlock Holmes."  Sherlock Holmes era un personaggio detective di libri.  Ha usato logica, indizi, e deduzione per risolvere crimini.  Il personaggio è diventato molto famoso.  È diventato un modello per tutti personaggi investigatori.

Il primo libro si chiama "Uno Studio in Rosso" o in inglese "A Study in Scarlet."  Più di mezzo il libro avviene in Utah, davvero.  Questo è sorprendente.  Tuttavia, prima della fina del libro, Sherlock Holmes risolve il mistero.


Tuesday, September 11, 2012

Anchilosauri: trivia al bar

Questa notte, andiamo al bar di "Biblioteca" per trivia.  Trivia succede tutti i Martedì.  Il nostra squadra chiamiamo "i Anchilosauri."  Abbiamo un mascotte di dinosauro.  Mi piace rispondere alle domande.  È molto divertente!