by Maria Reidelbach
Last month we talked about the havoc that deer wreak in your garden. We covered how deer are gourmets and like to eat baby plants and most of the same fruit and vegetables we like, how they're creatures of habit and tend to stick to the same habits and trails. One interesting fact I've learned in the meantime is that the leaping deer signs so common on our roads often mark the spots where deer trails cross the road. They're like deer crosswalks (cross leaps?). Who knew? Also, another deer resistant edible plant to add to the list from last month: our local currant maven, Ray Tousey of Clermont, told me that deer won't eat black currant plants—only the black currant has the fragrant greenery deer scorn, the other colors don't.
Last month we talked about deflecting methods, this month we'll talk about more active measures to take to protect your dinner, because once deer know that your yard is yummy, they'll make sure to cruise it regularly for anything fresh and new and it will become one of their habitual paths. The most extreme and permanent solution is fencing; it's also the most expensive and I'll leave that for last.
A combination of more modest strategies will often do the trick. Scare devices work, especially if you regularly rotate them to keep deer on their toes (do deer have toes?). You can try motion-triggered lights or water sprays. Scare tape and balloons may be effective, as can be the classic scarecrow, especially if you dress it with shiny objects like sequins and metallic items (why should drag queens have all the fun?). Wind chimes with shiny danglers hung from trees can work, too.
The next resort are repellent substances. Repellents work best if you use them before deer have made your place their daily hangout. And again, for the best results, alternate what you use. There are a bunch of different products out there, some of them are stinky, some noisy, some emit electronic waves. Liquid repellents seem to work the best, and are used either on the plant itself (contact repellent) or are sprinkled around the plants (area repellent). Deer Defeat, a company in Red Hook, has developed a nontoxic product that works so well that Victoria Garden's landscaping crews use it in many of the gardens they care for. You spray on or around the plants you want to protect, several times a season, as directed. You can use it on food plants, but because it contains raw eggs, it's not recommended for use on plants you expect to eat any time soon. For the surprise effect, alternate stinky repellent with “sweet” repellent made with cinnamon, also available commercially.
You can make your own repellent; the essential ingredients are eggs and water. It may not last as long as commercial products, but you probably still only need to apply it every couple of weeks. Here's a recipe for a tweaked version.
Stinky or Sweet Deer Repellent
3 raw eggs
3 Tbsp garlic juice or chopped garlic OR 15 drops of cinnamon oil
Use a blender to puree the ingredients with enough water to keep everything whirling. Add the mixture to one gallon of water. Use the liquid as a spray either directly on the plants or on surrounding vegetation.
This repellent may also be effective against rabbits and groundhogs.
Other common home deer repellents, such as hanging bars of Irish Spring soap or balls of hair, don't seem to be as effective as sprays, with reports of deer actually eating the soap, but again, try things out, and talk to your neighbors about what they've found effective. Deer gangs have their cultures and herd mentalities.
The most expensive, but most sure-fire solution to keeping deer away is a fence. The best kind of fence varies regionally, but here in the Mid-Hudson Valley, there are several good choices. A minimalist approach that works near houses was shared with me by Chris Hewitt, the publisher of this paper and a master gardener. He drives six-foot pieces of rebar into the ground around the edges of beds. Then he runs three rows of nylon fishing line low, middle and high on the bars. Deer bump the line and don't know what it is. Chris cautions that this works best in beds around houses where people are and deer are skittish, otherwise the deer figure out that they can push through.
Diane Greenberg of Catskill Native Nursery works on the front lines of deerland all the time. She has used picket fences with added taller posts to which a running chain is attached, making the fence look more imposing—to a deer. Chris says a five-foot fence can work around a small garden; deer are hesitant to jump into a small, enclosed space. A six-foot fence can be made to look taller with the addition of sticks poking above. But you really need a seven-foot fence, in this area, to reliably keep deer out. For best value, Chris recommends using 2x4 welded wire fencing and cedar posts—there are cheaper deer-netting materials, but they are not very durable. The wire fencing is also available in a black vinyl coated version that is less visible.
For those set against constructed fences, Diane suggests living fences—thick, tall hedges made of a variety of deer repellent and resistant bushes and grasses, with constructed gates at entry points. Hedges have the virtue of adding beauty and a natural border to your garden.
More info:
Ray Tousey has a table at the Kingston winter farmers’ market where he has his own currant juice and crème de Cassis, among other tasty produce and products. He's got plants in season.
Deer Defeat, more info at deerdefeat.com
Herzog's Supply Company, Kingston, herzogs.com, carries sweet deer repellent and 2x4 welded wire fencing.
Catskill Native Nursery, Kerhonkson, catskillnativenursery.com, edible deer-resistant plants and herbs.
Victoria Gardens, Rosendale, carries deer repelling supplies and plants.
Phantom Gardener, Rhinebeck, thephantomgardener.com, an organic source of gardening and deer repelling supplies.
Maria Reidelbach is creator and proprietress of Homegrown Mini-Golf on Kelder's Farm and is quite busy getting the edible landscaping ready for spring.
Local radio continues to inspire and push new boundaries.
by Anne Pyburn Craig
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Mia Chin was a student throughout the program's early years. |
Radio, early in its second century of existence, still has room for rebels. Ever since the early 1920s, when broadcasting began, the power of an individual being able to broadcast over the airwaves has been changing our world; even with the development of television and Internet, radio remains unique in that all a listener needs is a simple, inexpensive device and a couple of batteries (or a hand crank) to access information and entertainment.
This democratic, near-universal access on the receiving end has allowed radio some interesting moments. Franklin Delano Roosevelt began using radio to forge a direct connection to the citizenry while he was still governor of New York, reaching over the heads of the opposition and straight to the people. In 1938, thousands of minds were blown when a dramatic broadcast of H.G. Wells’ War of the Worlds was mistaken for a news bulletin announcing an actual Martian invasion. Drama and comedy, live and on the air, created a cultural common denominator and frame of reference on a scale never before seen—by the time television arrived on the scene, 82 percent of Americans were listening to the radio.
As educational director of the Poughkeepsie-based Children’s Media Project, Mary Ellen Iatropoulos is helping to nurture the next generation of communicators. As a Vassar College grad, she found herself uniquely positioned to give them a voice in the community.
“As a Vassar student, I managed WVKR, the college radio station,” she says. “When I came to CMP, I stayed in touch with people there—and I remembered that they didn’t have any youth programming.” WVKR (91.3 FM) extends an open invitation to members of the community to propose programming, and when Iatropoulos approached them about an audio version of CMP’s high-energy, high-quality DROP TV format, she found ample enthusiasm.
“This May will be the fifth birthday of our Radio Uprising show,” she says, “and I continue to be amazed by what our youth producers come up with. We talk about space exploration, the future, uses of Twitter and Facebook—we run the gamut from controversial to tame.
“Radio is my personal favorite medium. It has the immediacy of TV without the need to always be at your most dolled up and polished—you can be in sweats in the studio and still deliver a moving, effective show. Getting in front of the camera can be nerve-wracking; the mike, not so much. It’s very freeing. People come out of their comfort zones in ways many of them couldn’t on TV.”
Even after video ended its golden age of dominance, radio has continued to cast a potent spell. DJs like Wolfman Jack and Cousin Brucie provided a lot of people with their first exposure to mind-expanding music. Personalities like Imus and Howard Stern became cultural icons. Right wing talk radio shows stroke the egos and stoke the xenophobic fears of like-minded dittoheads. Millions tune in to Christian stations to feel educated and guided in their spiritual journeys. Radio has bred scandals and reached behind enemy lines in wartime.
And it remains a powerful tool, for propaganda or enlightenment. Unlike visual media, we can listen to the radio while driving or working at other tasks, which may give its messages a certain stealth access to semi-conscious levels of thought and certainly broadens its reach. Iatropoulos believes that when young people become involved in media production, they’re empowered by a much deeper understanding of the constant barrage of messages coming at them.
“Young people are constantly being targeted as consumers of media,” she says, “but we don’t validate them much as producers. They have an enormous amount to add to the conversation. And in order to navigate life, it’s important for them to understand how media is created and how it affects people.”
Radio Uprising’s weekly hour-long show offers a refreshing antidote to the kind of agenda-driven echo chambers that the mainstream media breeds. The kids are honest, fresh, and unafraid.
“Right after the assassination of Osama Bin Laden,” Iatropoulos recalls, “we had two young men on the air who had diametrically opposing views. One perceived it as the day freedom won, a glorious day for American ideals. Another student believed no government should assassinate anyone.” This is, of course, the exact sort of territory that provokes acrimonious swearing fits from so-called “adults” from sea to shining sea, all over airwaves and Internet alike—but the kids, says Iatropoulos, took it to another level. “We debated what it means to be patriotic. Nobody was judged. And why not let youth debate? They get shut down a lot. We need to let them learn civil discourse. We live in a society that rewards win/lose conversation, zingers, and one-liners—we get conditioned to go for the joke instead of the deep thoughtful comment. That kills intellectual discussion, which involves mental muscles that need to be exercised. Raising questions, talking about subjects without judgment—that’s how you do that, and it had better not become a lost art.”
Despite the consolidation and homogeneity of the airwaves—Clear Channel owns 850 broadcast stations, Cumulus Media about 525—radio remains a refuge for independent voices. Satellite and Internet radio allow almost infinite variety, but the terrestrial variety—the kind that still requires only the most basic equipment for access—would be in grave danger of fading into a wasteland of syndicated sameness if it weren’t for the passion of local heroes who keep it real.
The Hudson Valley is blessed with several good independent stations that have found commercial success without knuckling under to control by corporate conglomerates. WDST (100.1) and WKZE (98.1) are both locally owned and dearly loved. Then there are the listener-supported community gems: WJFF in Sullivan County (90.5), besides rebroadcasting public radio content, fills 50 percent of its time slots with locally produced individual content. Kingston Community Radio takes over the WGHQ (920 AM) airwaves five mornings a week for local guest hosts and call-in sessions during which local political and other officials and personalities can connect directly with listeners in their homes, cars and workplaces.
And they do. Research shows that despite our ever-increasing menu of media options, over 75 percent of people listen to the radio at least a little every day, and over 90 percent at least once a week. The first video on MTV, Video Killed the Radio Star, has turned out to be more fantasy than prophecy.
When reporter Gary Lycan of the Orange County Registerasked radio personality Tim Conway Jr. about radio’s relevance, he had a quick and impressive answer. "Radio broke the name Christopher Dorner, carried live interviews from crippled cruise ship Triumph, and bested TV in reporting the asteroid that hit Russia…The Today Show even gave KFI credit for being the first media outlet to talk to the Big Bear resident that was carjacked by Christopher Dorner."
Meanwhile, at WVKR, kids rule their Thursday afternoon time slot, opening with a pulse-quickening theme created by Delswan Madden in collaboration with the Turn It Up youth radio—a joint project of CMP and Mill Street Loft. And they’re getting educated by the experience in all sorts of ways.
“We have a few songs we play just to get a breather,” says Iatropoulos, “but it’s really hard for the kids to find music that’s not owned or subsidized by a major label, and the rules are strict—there’s no playing Katie Perry or Kanye West. The same major companies control Lady Gaga and P Diddy—it’s an illusion of choice that these corporations go to lengths to create. So the Radio Uprising youth learn to seek out more organic, local, underground stuff. First they’re dumbfounded, then they’re pissed—and motivated.”
by David McCarthy
The purpose of this particular column is to get you thinking about some very basic questions—questions such as these: What is economic justice? What role can compassion play in economics? And what is the relationship between justice and compassion? It is far more important that you think about these things yourself and see where that takes you than to just read whatever I have to say about it. It has been said that wisdom has more of the character of a question than that of an answer. Therefore, if we want wisdom we need to engage ourselves with questions that matter.
Now obviously, when we talk of justice and compassion in economics, we are firmly in the camp of so-called “normative” theory. To those who may think that economics is all about objective observation and rational analysis, I would suggest that yes, it’s about these things, but what we are observing and analyzing is human behavior. We are humans observing humans (along with the world we live in), and if you honestly pursue that line of thought you will see that human values are inevitably involved. There is a profound level of existential cowardice at play when people avoid putting human values front and center in economics—or perhaps what is worse, dumbing down human values to the level of “more is better; it’s all about growth.” If we don’t avoid the normative question—if we take on the messier but more profound work of thinking in terms of human values—then at some point we start thinking about justice.
There is an interesting phrase in our Pledge of Allegiance: “...with liberty and justice for all.” That’s pretty juicy, isn’t it, when it comes to economics? Does individual liberty constitute justice? Certainly the principles of human freedom are a cornerstone of any kind of justice, not just the economic sort. But have we achieved it “for all?” And what would a complete picture of economic justice look like? Typically this discussion is framed in terms of the individual versus society as a whole. The individual likes freedom (and here we are leaving aside the question of whether we are talking about a healthy, sane individual or the sort of mere egomania that often passes for individualism). Society, on the other hand, needs and expects some limitations on individual behavior. If you leave it at that level, notice that the discussion is still centered on the individual. The tougher nut to crack is how to achieve justice for all individuals. And does “all” pertain to economic justice for those in the future who are yet to be born?
Now here’s another question: Why would anyone even wantjustice for all? If you think this one through, somewhere along the way the idea of compassion will come up. The idea of justice for all is linked to compassion for all. Why? Because to want justice for all means you have some sort of positive feeling for everyone, you believe in some kind of inherent equality, and furthermore you aspire for their wellbeing. That is compassion, and it also reminds us of the interesting point that for compassion to be real it has to be extended impartially. In this way, justice has something to teach us about compassion. Justice is not real if it is not universal. If it is not extended to everyone, there is injustice. In the same way, it has been taught that biased compassion is really not complete, because it contains the element of attachment to those we like and indifference (or worse) toward those we don’t.
These ideas of universal justice and universal compassion are amazing, because they show us something about the capacity of the human mind or spirit. We all have the capability of thinking this way. It is part of our inherent wisdom.
Now, as history has shown, the road from thought to action is not always easy. At the same time, we really have no choice but to keep trying. If we start with these principles, and go deeper into the details, we come to more questions. What are the ways we can enact compassion in economic life—as individuals, and at the macro scale of society? In a similar way, what are the details of justice? For example, are clean air, clean water, and a stable natural environment things that could be called rights? If so, what are we going to do to make good on those rights?
My work in economics is about exploring these questions. As always, I invite you to join in the conversation.
tongdrol@gmail.com
Home remedies for making it through the common cold.
by Rochelle Riservato
In order to properly address a medical issue, such as The Common Cold, we must first obtain a proper definition of such to know what we’re dealing with. Medically defined as a viral infection of the upper respiratory system, a common cold affects the nose, throat, sinuses, Eustachian tubes, trachea, larynx, and bronchial tubes. With more than 200 different viruses known to cause this infirmity, the medical arena states 30 to 50 percent of these colds are caused by a group known as “rhinoviruses”.
Research dictates almost all common colds clear up in less than two weeks, with an average of ten days, without causing any complications. Given time a relatively healthy body will produce antibodies to cure itself of a cold. With cold-season commencing in early autumn and extending through early spring certain circumstances may lead to common cold susceptibility. Catching the common cold can range from being near a sick person who coughs, sneezes or speaks—all expelling tiny fluid droplets containing the virus that is then breathed-in—to touching an infected person or inanimate object that has become contaminated with the virus. So it’s wise to avoid being close to people during the first 2 to 4 days after they show cold symptoms.
With the common cold giving rise to a multi-million dollar industry for over-the-counter (OTC) medications and a leading cause of work and school time loss, most colds can be treated with simple natural remedies that you can do at home or are in your home already.
Symptoms
Initially there’s throat tickle, runny nose, and sneezing. The nasal discharge starts as clear and thin and later changes to a thick yellow or greenish discharge. The common cold also brings along head and muscle aches, chills, a sore throat, nasal congestion, hoarseness, watery eyes, appetite loss and general tiredness. And if there’s a cough, it’s usually intermittent and dry.
So to make those first four to five days, of the usual ten day total stretch, there are many natural remedies for you to try before running off for an antibiotic. Remember antibiotics do not treat viruses—they are only for bacterial infections.
Natural Remedies
• Drink plenty of fluids, preferably hot, but avoid acidic juices, which may irritate the throat.
• Lots of rest.
• Use saline nasal spray containing purified water and sodium chloride to flush out mucus and bacteria.
• Gargle with any of the following: One teaspoon salt to 8 oz. warm water; warm water with turmeric powder or astringents such as alum, sumac, sage and bayberry; Warm tea that contains tannins with sage leaves;Licorice tea; a mixture of honey and apple cider vinegar; or a cooled-down steeped mix of raspberry leaves or lemon juice with one teaspoon honey and two cups hot water. Remember children under one year of age should not be given honey.
• A cool-mist room humidifier to ease congestion and sore throat.
• Vaseline or other lubricant under the nose prevents irritation from frequent nose blowing.
• Inhaling a steaming mixture of lemon oil, thyme oil, eucalyptus, and tea tree oil.
• Taking doses of natural coneflower, goldenseal, yarrow, eyebright, garlic, or onion available at health food stores.
• Natural herb loquat syrup for cough and sinus congestion and Chinese ephedra for runny nose.
• Zinc or black current lozenges every two hours.
• High doses of Vitamin C or drink Elderberry juice.
• Eliminate dairy products to cut down possible mucus production.
• Eat antioxidant-rich, nutrient-dense foods including whole fruits, vegetable, grains and omega-3 rich foods—and don’t forget chicken soup, the most requested food of cold sufferers.
• Blow nose often and correctly; with one finger pressed over one nostril while gently clearing the other. Alternate.
• Take steamy showers.
• Place hot or cold packs around congested sinuses.
• Don’t smoke.
• Meditate to reduce stress.
• Moderate exercise if feeling up to it.
• Sleep with an extra pillow to help drain nasal passages.
• Sage extract for mucus removal, cough calming, and as an expectorant.
Note: Be mindful. If one experiences any symptoms other than the ones listed above, please consult a physician. The common cold can produce secondary bacterial infections of the upper respiratory system in people with a weakened immune system, chronic lung disease, asthma or diabetes. A common cold in those subject to any of the above conditions are more prone to secondary bacterial infections leading to middle ear infections, bronchitis, pneumonia, sinus infection, or strep throat.
Creating masterpieces with the colors of yesterday's flooring.
by Rebecca Shea
To look at art and be stirred from my feet up is exciting. Bill Miller's collage pictures—some made from vintage linoleum—may do this for you too. Certainly, Miller’s pictures quickly engage you with recognizable imagery, dynamic colors, and an innovative process, but it is that warm feeling of nostalgia that creeps up from my feet that is the exciting new art surprise for me.
It is the linoleum and Miller's portraits with landscapes that stir my memories of the garish kitchen floor of my early days when dinner was not my responsibility. To daydream while rolling around on the linoleum kitchen floor apparently was my job. As I lay on that cushiony warm linoleum, I was safe and happy to daydream looking out the window.
The daydreams I had were part truthful images of people, places and things, part fantasy, expressive images, part glimpses of landscapes that slipped between remembered and imagined; quick and sketchy, shimmering and alive and then they were gone and another scene would unfold in my mind's eye—sort-of like moving through a gallery of Bill Miller's pictorial collage work. I know that scene. I remember that moment. Was that my memory or Bill Miller's?
Miller's innovative and evocative work, using found and repurposed materials like linoleum, have earned him national acclaim. He has been widely exhibited, including solo shows in NYC, LA, Philadelphia, Seattle, Austin, San Diego, Pittsburgh, Columbus, Baltimore and Woodstock, NY. He has been profiled by the National Geographic Channel andWQED TV (public television), and featured in prominent publications including New York Times, HOME Magazine, and the coffee table book Found Object Art.
Miller was chosen this year to create the artwork for the 13th annual Woodstock Film Festival, joining notable artists Peter Max, Milton Glaser and Bill Plimpton, who were previously selected for this honor.
Born 1962 in Cleveland, OH, now a Woodstock, NY resident, Miller originally concentrated on painting and printmaking. He relocated to Pittsburgh where he was a founding member of the Industrial Arts Co-op, which called for a collective artistic response to the devastating impact of decaying industrial infrastructure on surrounding communities. The group constructed immense sculptures inside abandoned industrial buildings from materials found on-site. While scavenging for materials, Miller was drawn to scraps of linoleum, and compulsively began collecting what was to become his new pallet and principle medium for almost 20 years.
Linoleum had been present in all aspects of 20th-century life, from our homes to the workplace and throughout school buildings. It was durable and looked great especially after waxing. Then vinyl or resilient flooring arrived on the market and became the go-to floor covering for quick, easy, affordable floor covering that didn't require waxing and sealing to keep it looking good. But linoleum is making a return due in large part to the earth-friendlier, sometimes renewable materials used to make it up—and because of the urge of many home renovators to accurately copy original flooring to their home.
Linoleum is primarily a combination of linseed oil, wood flour, cork powder, resins and ground limestone mixed with mineral pigments to provide color and pressed onto a jute base. The name comes from the Latin words "linum" (linseed) and "oleum" (oil).
Bill Miller doesn't have to scavenge for his linoleum anymore as he says his dumpster diving days are mostly over. He acquires a lot from donation and only has to rummage through his own scrap bins of linoleum for his materials.
Miller cuts up the linoleum remnants and then fits the pieces together, adhering them on wooden boards with construction glue and adding layers and layers of non-yellowing varnish. The varnish layering adds a mosaic quality that imparts a stained glass look to the work.
Using only the flooring’s found surface, with no added paint, to render his subjects, Miller's work ranges from landscapes to political that draw on iconic news and pop culture. Miller's work has also been linked to flat patterning applications used in quilting traditions, which happens to be a long-time avocation of his sister.
In 2007, Miller was honored with a retrospective exhibit at the Pittsburgh Center for the Arts. In 2010, he was chosen to create the cover image for the Frank Zappa CD Congress Shall Make No Law, issued to mark the 25th anniversary of Zappa’s anti-censorship testimony on Capitol Hill to support artistic freedom of expression. Yah!
Renewable building material offers energy savings and longevity.
by Anne Pyburn Craig
Straw bale building got its start on the plains, where timber wasn’t easy to come by. What was available—straw and mud—stood the test of time. The invention of the mechanical baler in the mid-19th century meant that there was a handy supply of these nifty sustainable building blocks, and more than a few of the resulting structures still stand today.
Those early pioneers probably never imagined that straw bale construction would ultimately inspire a wave of innovation. The 1930s saw a decline in straw bale building as cement took over for a while. But the technique’s advantages remained hard to top, and it began to be reintroduced as late-20th-century humans sought energy-efficient and nontoxic ways of building nests.
“A couple of people out in the southwest found an article about it and decided to build one, and started a whole movement without particularly trying to,” says natural builder Ben Simpson of Rosendale. “People who saw it wanted one, the idea spread, and pretty soon it was being written into building codes.”
Something about the common-sense nature of straw bale construction—using a material that would otherwise be burned as waste and provides a built-in R-factor of over 35—seems to bring together traditionalists and zero-energy fans in a happy convergence. One of Nebraska’s latter-day creations, a bar built in 1996, is christened Angels’ Straw Bale Saloon and features the story of its eco-friendly construction prominently on its website (“a time-consuming process as all labor was provided by the owners and funding was minimal”) next to the links to Bikefest photo albums. One tough place, you might say, built by the children of the original proprietors after the earlier incarnation was flattened by a tornado—take that, Three Little Pigs.
In the Hudson Valley and Catskills, straw bale building has been the mode of choice for several showplace structures and a good sized handful of green homes, though still rare enough to garner feature write-ups in Chronogram and the New York Times. For every frequently raised question, straw bale folks have a ready answer: the structures are, if anything, more fire-resistant (and far less toxic) than typical post-and-beam fiberglass-insulated ones; and clean, dry, dense straw is extremely resistant to vermin and insects. More than one local building inspector has begun as a skeptic and come away a convert.
There are two distinct methods in straw bale construction. Straw can be used as infill and insulation for traditionally framed stick-built houses, or serve as a load-bearing structure (“Nebraska style”) in its own right. Once the walls are built, some sort of mud mixed with straw is used to create the sheathing.
When they needed a multipurpose agricultural building on Four Winds Farm in Gardiner, Polly and Jay Armour hired Simpson to build it of straw. It was only the second such structure that Simpson had created, but his sense of purpose as a builder dovetailed beautifully with Four Winds’ mission of sustainable agriculture. In about two years, the farm’s community supported agriculture (CSA) operation had an office/greenhouse/root cellar space to be proud of.
“We’re very satisfied with it,” says Jay Armour. “It’s super well insulated, no auxiliary heat needed. We have a CSA that operates here, and they distribute there in the heat of summer; you walk in, you’d think there’s AC. And as we harvest it’s nice to have a cool space to bring it into. A lot of people think in terms of reducing the energy they need for heating, but cooling is also a big factor, especially in agriculture...We’re looking at trying to reduce our carbon footprint as much as we can, and I know that building has helped. It’s eleven years old now, and aside from the dust—which has nothing to do with the straw bales—it looks as good as new.”
“A lot of people get the silly idea in their head that straw will rot or fall apart,” continues Armour. “No. Packed really tight and covered with stucco, it’ll last indefinitely—probably longer than stick-built.”
Simpson came to his calling in sustainable, collaborative construction via a somewhat roundabout route: a geography major and cartographer, his fascination with the Earth and its places led him to wanting to build environmentally sound and human-friendly dwellings on it. Straw bales are one of several materials he uses as sole proprietor of Your Growing Places.
“I love working with straw and earth plasters, blending those with more conventional techniques whenever I can,” Simpson says. “It’s really nice material and lends itself to curves and creativity. I think that’s part of what people are attracted to, besides the energy advantages.” In addition, he says, it’s fun and more user-friendly than conventional piles of sheetrock and two-by-fours. “On the Four Winds project, we had a bunch of high school kids from the Bruderhoff come down with trowels and hawks and just jump up on the bales and jump in. A lot got done, a lot got learned, and we had a blast…Clients can invite their friends to come out and help out, which isn’t something you can really do on a stick-built home.”
“Straw bales are a natural, safe, locally available and annually renewable material,” Simpson wrote in an article he authored on the subject during the Four Winds project. “Homes built using this technique offer insulation values of up to R-45 and can be constructed using unskilled labor. This technique also helps to support local farm economies, reduces fuel dependence, is economical, can last 100 years or more, and creates beautiful and comfortable spaces. When combined with a passive solar heating design and super efficient appliances and lighting, it’s possible to move towards a zero-purchased-energy home.”
Since Four Winds, Simpson has worked on a wide variety of other projects including a load-bearing house in Kerhonkson. “Load-bearing is less common in wetter climates because all of the bales need to be placed before the roof goes on, meaning there is more risk of the straw getting wet during construction. It can be a challenge in our climate,” he says. “I spent 45 minutes a day tarping and un-tarping. But hey, they heated the whole 1,400-square-foot house with three-quarters of a cord of wood—I’d do it again if someone asked.” Other projects have included a straw-bale recording studio and an 800-foot addition on a house in Rosendale. “It’s all polished logs and local hardwoods and a great big earthen fireplace surround. I think it may be the nicest one yet.”
Perhaps there is something inherent in the compressed blocks of vegetable cellulose and the wheelbarrows of clay mud that will keep the rules looser and more flexible going forward. Simpson collaborates at length with his customers through every phase of design, permitting and building, as does North Catskills straw bale wizard Clark Sanders. Sanders, a former veterinarian, has been building with straw since the 1970s; one of his better-known projects was a house for his ex-wife. She’d divorced him, but still hired him; reports suggest she’s never regretted it.
"Ultimately if we (the client and I), have done our job well, we will have sculpted a home which embraces, soothes and protects the occupants while providing refuge from the inherent stresses of life,” says Sanders on his website, sounding a lot like Simpson. One suspects that the denizens of Angels’ in Nebraska, though they might not put it that way, enjoy a similar sensation—as do the Habitat for Humanity clients who’ve helped build their own straw bale houses in the Southwest. Simpson and his fellow sustainable builders would like to see the method employed in impoverished parts of the city of Buffalo, too.
The rules are still being written, but the limits may never be found.
Tales of a Hudson Valley Localist
by Scott Tillitt
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Re>Think Local's REMIX in Newburgh, 11/19/12. |
Stop reading for a few seconds (though you should finish the paragraph first) and think about how many of your friends and acquaintances work for themselves—not just those with their own business, but also those who freelance or consult (whether full or part time). How many consider themselves “creative”? We’re talking the kinds of folks who make art or sell crafts on Etsy, or provide creative or technical services, maybe create artisanal food products, design apps, or run a healing practice.
Chances are, you know a lot. And chances are, as the months get warmer and then colder and the cycle repeats itself next year and the year after, you’ll know more and more.
Independent workers in all their manifestations comprise nearly one-third of the US workforce—and that’s according to pre-recession 2006 figures (when the government stopped counting), so the count is probably higher. Such citizens are integral to the New Economy.
While the positive impact of cultural institutions is pretty much conventional wisdom at this point, the larger creative economy that includes DIY (do-it-yourself) makers and small, creative businesses is less understood. For the most part, policies and budget decisions and economic development initiatives aren’t considering them.
Consider this: Entrepreneurial activity in 2009 was at its highest in 14 years. In 2008 there were 23 million personal businesses in this country, with 1.7 million started that year alone. Census data shows that about 40 percent of personal business owners work less than 20 hours per week on their ventures, so many of these new operations are part time. A 2008 Kauffman Foundation study found that 36 percent of small businesses surveyed started as a part-time business.
“It is clear that the new DIY movement is creating new small business opportunities and Makers are starting full- and part-time businesses to pursue them,” concluded the authors of an Intuit Future of Small Business report.
Berkshire Creative, a group focused on (as you may intuit) stimulating the creative economy in the Berkshires—a region not so different from our own Hudson Valley—has found that, among other things, the creative sector:
• helps revitalize downtown areas;
• helps attract other businesses and residents; and
• increases the economic competitiveness of other sectors and creates new jobs in them.
In Beacon, where I live, the renowned contemporary art museum Dia:Beacon is largely credited with the town’s renaissance, bringing international awareness, tourists (65,000-plus a year) and money—but also artists and other creatively inclined residents who started moving here soon after Dia’s move was announced and continue to more than 10 years later.
Those residents have brought new energy and businesses, but they also bring new thinking that can impact larger societal issues. They have the kind of broad perspective we need to address the intertwined challenges we face, connecting the dots between seemingly disparate ideas. “We cannot solve our problems with the same thinking we used when we created them,” said Einstein, the literal poster boy of creative thinking.
So how can we nurture this creative class and creative solopreneurs? Quite simply, we need to rethink outdated approaches to economic development, which often focus on attracting large out-of-region businesses and giving them tax breaks, hoping jobs and subsequent tax revenues will follow. That model has been mostly proven bunk.
I agree in part with Freelancers Union founder Sara Horowitz: “The solution will rest with our ability to form networks for exchange and to create political power.”
We’re starting to do that in the Hudson Valley. Re>Think Local and BEAHIVE, both of which I’m involved with, give the creative class and entrepreneurs a voice and support not found in typical government agencies and traditional business organizations.
Both are part of growing global movements. Re>Think Local, a progressive business network, is affiliated with the Business Alliance for Local Living Economies (BALLE), which includes 80 networks representing 30,000 values-aligned business innovators.
BEAHIVE is partly inspired by the “coworking” movement, collaborative spaces that address the changing nature of work, providing professional and social and emotional support to people. There are now more than 1,300 dedicated coworking spaces worldwide, having doubled each year since 2006, when the movement more or less started.
As Buckminster Fuller said, “To change something, build a new model that makes the existing model obsolete.” Let’s build it, together!
We’ll explore all this more in future articles and through various initiatives, including TEDxLongDock, an independently organized TED conference coming to Beacon this spring.
Scott Tillitt is a founding board member of Re>Think Local, as well as founder of BEAHIVE and Antidote Collective, which does PR and communications for social impact.