Powered by RND
PodcastsScienceInterplace

Interplace

Brad Weed
Interplace
Latest episode

Available Episodes

5 of 153
  • How Cities Loop Us In
    Hello Interactors,My daughter in Manhattan’s East Village sent me an article about the curated lives of the “West Village girls.” A few days later, I came across a provocative student op-ed from the University of Washington: "Why the hell do we still go to Starbucks?" The parallels stood out.In Manhattan’s West Village, a spring weekend unfolds with young women jogging past a pastry shop in matching leggings, iced matcha lattes in hand. Some film it just long enough for TikTok. Across the country, students cycle through Starbucks in Seattle’s U-District like clockwork. The drinks are overpriced and underwhelming, but that’s not the point. It’s familiar. It's part of a habitual loop.Different cities, similar rhythms. One loop is visual, the other habitual. But both show how space and emotion sync. Like an ambient synth track, they layer, drift, and return. If you live in or near a city, you exist in your own looping layers of emotional geography.FLASH FEEDSMy daughter has been deep into modular synthesis lately — both making and listening. It’s not just the music that intrigues her, but the way it builds: loops that don’t simply repeat, but evolve, bend, and respond. She’ll spend hours patching sounds together, adjusting timing and tone until something new emerges. She likens it to painting with sound. Watching her work, it struck me how much her synth music mirrors city life — not in harmony, but in layers. She’s helped me hear urban rhythms differently.Like a pop synth hook, the Flash loop is built for attention. It's bright, polished, and impossible to ignore. Synth pop thrives on these quick pulses — hooks that grab you within seconds, loops that deliver dopamine with precision. Urban spaces under this loop do the same. They set a beat others fall in line with, often flattening nuance in exchange for momentum.This isn’t just about moving to a beat. It’s about becoming part of the beat. When these fast loops dominate, people start adapting to the spaces that reflect them. And those spaces, in turn, evolve based on those very behaviors. It’s a feedback loop: movement shaping meaning, and meaning shaping movement. The people become both the input and the output.In this context, the West Village girl isn’t just a person — she’s a spatial feedback loop. A mashup of Carrie Bradshaw nostalgia, Instagram polish, and soft-lit storefronts optimized for selfies. But she didn’t arrive from nowhere. She emerged through a kind of spatial modeling: small choices, like where to brunch, where to pose, where to post are repeated so often they remade a neighborhood.Social psychologist Erving Goffman, writing in the 1950s, called this kind of self-presentation "impression management." He argued that much of everyday life is performance. Not in the theatrical sense, but in how we act in response to what we expect others see. Urban spaces, especially commercial ones, are often the stage. But today, that performance isn’t just for others in the room. It’s for followers, algorithms, and endless feeds. The “audience” is ambient, but its expectations are precise.As places like the West Village get filtered through lifestyle accounts and recommendation algorithms, their role changes. They no longer just host people, but mirror back a version of identity their occupants expect to see. Sidewalks become catwalks. Coffee shops become backdrops. Apartment windows become curated messes of string lights and tasteful clutter. And increasingly, the distinction between what’s lived and what’s posted collapses.This fast loop — what we might call spatial virality — doesn’t just show us how to act in a place. It scripts the place itself. Stores open where the foot traffic is photogenic. Benches are placed for backdrops, not rest. Even the offerings shift: Aperol spritzes, charm bars, negroni specials sold not for taste but for tagability.These are the high-tempo loops. They grab attention and crowd the mix. But every modular synth set, like a painting, needs contrast.So some people opt out, or imagine doing so. Not necessarily with loud protest, but quiet rejection. They look for something slower. Something that isn’t already trending...unless the trend of routine sucks you in.PULSING PATTERNSIf Flash is the pop hook, Pulse is the counter-melody. It could be a bassline or harmony that brings emotional weight and keeps things grounded. In music, you may not always notice it, but you'd miss it if it were gone. In cities, this loop shows up in slow friendships, mutual aid, and cafés that begin to feel like second homes. These are places where regulars greet one another by name. Where where hours melt through conversations. It satisfies a need to be seen, but without needing to perform. It’s what holds meaning when spectacle fades.If the fast loop turns space into spectacle, the counter loop tries to slow it down. It lures the space to feel lived in, not just liked. It’s not always radical. Sometimes it’s just choosing a different coffee shop.Back in Seattle’s University District, students do have options. Bulldog News. Café Allegro. George Coffee. These places don’t serve drinks meant to be posted. They serve drinks meant to be tasted. They’re not aesthetic first. They’re relational. These are small gestures that build culture.Social psychologists Susan Andersen and Serena Chen describe this through what they call relational self theory. We don’t become ourselves in isolation. We become ourselves with and through others — especially those we repeatedly encounter. Think about the difference between ordering coffee from a stranger versus someone who knows you like sparkling water with your Cortado. It’s a different kind of transaction. It eases things. It reinforces your own loop.So why do people routinely return to Starbucks? It isn’t just about caffeine addiction. It’s about being part of a socially reinforced rhythm — anchored in convenience, recognition, and the illusion of choice.Stores like Starbucks are often strategically located for maximum accessibility and convenience. They're nestled near transit hubs, along commuter corridors, or within high-traffic pedestrian zones. These placements aren’t arbitrary. They’re optimized to integrate into daily routines. It's less like a countermelody and more like a harmonic parallel melody. As a result, practical considerations like proximity, availability, and reliability often override ideological concerns.People return not because the product is exceptional, but because the store is exactly where and when they need it. The Starbucks habit isn’t only about routine, but rhythmic predictability that appears personal. In this sense, it functions as a highly accessible pulse: a loop that’s easy to join and hard to break. It's made of proximity, subtle trust, and convenience, but is dressed as choice.My daughter's chosen counter loop lives in the East Village — not far, geographically, from the Instagram inspired brunch queues of Bleecker Street. Her loops are different. She carries conversations across record stores, basement venues, bookstores with hand-scrawled signs, and a few stubborn restaurants.These are Places where the playlists aren't streaming through Spotify. Her city isn’t organized around visibility. It’s organized around presence. Around being seen to be honored and remembered. Like the bookstore dude who knows the lore on everyone, or the cashier who waves her through without paying, or her Brooklyn bandmate friends who fold her in like family.Sure, this scene intersects with the popular loops — modular synths are having a moment — but it sidesteps the sameness. It stays unpredictable, grounded in curiosity and care rather than clicks. The gear is still patched by hand. The performances are messy and often temporary. And yet, the loops — literal and figurative — keep returning. Not because they’re engineered for attention, but because they allow people to build something slowly...together...from the inside. Especially when done in partnership with another synthesist.You might see this in your own city. The quiet transformation of spaces: a café hosting a poetry night; a yoga studio turned warming shelter during the storm; a laundromat that leaves a stack of free books near the dryers. These are not accidents. They are interventions. Sometimes small, sometimes subtle...but always deliberate.They stand in contrast to the churn of the viral. They also offer an alternative to despair. Because the counter loop isn’t just critique. It’s care enacted. And care takes time.Still, even pulsing care needs structure. It needs floor drains, power outlets, and open hours. It needs a stable substructure.UNDERCURRENT UNDERTONESUndertone is the foundational structure on which other elements are built. It's the core of modular synth music. This isn’t just rhythm. It’s the subtle, slow, and reactive scaffolding. These core loops evolve and shift setting the timing and emotional tonality for everything else.They don’t dominate, but they shape the flow. They respond to what surrounds them to ground the composition. Cities, too, have these base layers. Often imperceptible, they are visceral, ambient, and persistent. They come into focus with the smell of rain on warm pavement. The clink of a key in a front door. These are not songs you hum, they’re the ones your heart and lungs make.Long before the influencer run clubs, celebrity shoe stores, and curated stoops, there was the mundane sidewalk. Not the kind tagged on a friend’s story or filtered through the latest app. Just concrete. Scuffed by strollers, scooter wheels, boots, and time. The sidewalk doesn’t follow trends, but it does remember them.Cities are built on these undertones: habitual routes, early deliveries, overheard exchanges, open signs flipped at the same hour each morning. They aren’t glamorous. They don’t go viral. But they are what hold everything together.Urban scholar Ash Amin calls this the “infrastructure of belonging.” In his work on ordinary urban life, he writes that much of what connects us isn’t spectacular. It’s what happens when people brush past one another without ceremony: the steady hum of life happening without the need for headlines. Cities function not just because of design, but because of everyday cooperation — shared rhythms, implicit trust, systems that keep working because people show up.It can seem mundane: a delivery driver making the same drop, a retiree watering the sidewalk garden they planted without permission, the clatter of trash bins returning to their spots. These moments don’t make the city famous, but they do make it work.Even the flashiest loops rely on them. The West Village girl’s curated brunch only happens because someone sliced lemons before sunrise and wiped the table clean before she sat down. The Starbucks habit loop in the U-District clicks into place because the supply truck showed up at 5 a.m. and the barista clocked in on time. They’re the dominant undertone of cities: loops so steady we stop noticing them...until they stop. Like during the pandemic.A synthesist might point to an LFO: Low Frequency Oscillator. These make slow drones that hum under a syncopated rhythm; a pulsing sub-bass holding space while textures come and go. The mundane in a city does the same: it holds the mix together. Without it, the composition falls apart.If you’ve ever heard a modular synth set, you know it doesn’t move like pop music. The loops aren’t clean. They evolve, layer, drift in and out of sync. They build tension, release it, then find a new rhythm. Cities work the same way.Their beauty isn’t always in sync — it’s in polyrhythm. Like when two synth voices loop at slightly different speeds: a saw wave pinging every three beats, a filtered drone stretching over seven. They collide, resolve, then drift again. Like when a car blinker syncs to the beat of a song and then falls out again. In modular music, this dissonance isn’t a flaw. It creates a sonic texture.City rhythms don’t always align either. A delivery truck pulls up as a barista closes shop; protest chants counter a stump speech; showtimes shift with transit delays. These clashes don’t cancel each other out — they deepen the city’s texture, giving it groove.Sociologists Scannell and Gifford call this place attachment: the slow accrual of meaning in a space through repetition, emotional memory, and lived interaction. It’s not always nostalgic. Sometimes it’s forward-looking. The act of building the kind of city you want to live in, one relationship at a time.And beneath all of this, the city continues its own loop: subways running through worn tunnels, trash collected on quiet mornings, someone sweeping a shop floor before the door opens.Both protest and performance rely on this scaffold. The Starbucks picket line doesn’t just appear. It’s supported by planning, scheduling, and shared labor. The music scene doesn’t just materialize. It's shaped by decades of flyers, friendships, and repeat customers.The viral and the intentional both need the mundane.Cities, when they work, are made of all three: the flash of now, the pulse of choice, and the undertone of the necessary. Like springtime flowers, the city creates blooms that emerge at the surface. They draw attention, cameras, and admiration. These blossoms don’t just attract the eye, they draw in pollinators who carry influence and energy far beyond the original scene. But none of this happens without the rest of the plant. It’s the leaves that capture sunlight day after day, the roots that pulse the unseen through tunnels, the microbes that toil in the grime and dirt to nourish those all around them. Urban life mirrors this looping ecology. Moments that flash brightly, pulses that quietly sustain, and undertones that hold it all together. The bloom is what gets noticed, but it’s the layered and syncopated life below — repeating, decomposing, reemerging — that make the next blossom possible. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io
    --------  
    22:05
  • Beaks, Brakes, and Brainwaves
    Hello Interactors, This week, four strange bird encounters landed in my lap — three in real life, one on my screen. First, a crow tore through the bushes in our yard chasing a frantic nuthatch. Moments later, I spotted two more crows feasting on roadkill just outside our house. Then, while walking with my wife, we watched four ducks in hot pursuit of another, flapping furiously down the street — some kind of aerial turf war. And finally, scrolling through my feed, I stumbled on a paper describing a Cooper’s Hawk hacking the city’s traffic system to hunt smarter. After all that, I tried seeing cities as a bird might. So I wrote as one.HISS, HUM, HUNTI first sense the city as vibration. Before sun rays even breech the branches, a hiss of car tires emerge; street lamps click off; somewhere a garage door rumbles open. Each resonance strikes the hollow chambers of my bones like sonar. It’s a sketch of distance, density, and direction. This all makes perfect sense to me even though I am just a kid. A juvenile Cooper’s Hawk — Accipiter cooperii — yet the human-made maze below me is as legible to me as the nest I left barely two winters ago. What follows, in human words, is a recount of one day’s hunt. I hope to demonstrate what humans regard as intelligence, innovation, and enterprise exists in a single act of predation.DANCING WITH DATA AT DAWNPerched on a gray mast of the Main and Prospect traffic light, I begin to render the scene. My basemap is no pixel grid glowing on some screen across town; it is a topological organ in my scull. Topology matters when a lamppost sits one maneuver away from the porch roof, which is one glide away from the dumpster rim. My so-called ‘bird brain’ calculates dynamic flows of probability. One flip of a traffic light, a garbage truck rolls by, and that gust of wind changes direction. My internal map pulses between “larger” when prey likelihood rises and “smaller” when likelihood falls.As I gaze out above the east-west avenue, a slipstream peels off the 7AM wave of commuters. I spot a sparrow in a vortex that spirals from the garbage truck’s wake at 07∶13. That acoustic shadow beneath that florist’s van is one place I could pass unseen. But is a sparrow worth it?What I am doing — unknown even to myself — is what spatial scientists call real‑time kernel‑density estimation. At any point on a simple 2D path I can plop a small mathematical bump — a kernel. I can then reason about the density mapped below me by stacking up every bump’s contribution at a particular spot. That once scatter of points on a map morphs into a smooth curve that shows where meaningful observations truly cluster. I continuously weight a landscape of pigeons, cyclists, and idling SUVs by situational context rather than simple Euclidean distance.Complexity geographer David O’Sullivan calls this kind of adaptive map a narrative model — a story the system tells itself so it can keep acting. My mental basemap obeys what is adjacent to what on this map. After all, a three‑meter hedge is more impenetrable than thirty meters of empty air; therefore straight‑line distances can lie and deceive. When humans try to simplify distances by saying, ‘as the crow flies’, they have no idea what they’re leaving out.BRAKES BUILD BARRICADESAt 07∶26 a stainless‑steel button is pressed; I hear the relay’s metallic click 3.2 seconds before the little white pedestrian blinks alive. I am perched here because I anticipated this poke by pedestrians on their morning commute. Vehicles will now queue as these bi-peds spill into the cross walk. The stacked metal boxes of steel, rubber, and plastic will form a barricade forty meters long…potentially.Brake‑lights align into a pulsing crimson corridor whose half‑life I have calculated and averaged across nineteen previous dawns. Humans call the coming congestion a nuisance, but I call it camouflage. For twenty‑two seconds the asphalt canyon’s turbulence drops below an acceptable range. I can now hover as if among cedars.A scientist has been watching from the opposite curb. They will soon begin recording this trick in their field book as so: a hawk anticipates the signal pattern and times its dives to the red‑phase distribution of brake lights.Because most queues are short, but occasionally very long, I have to be careful to time this properly. If I dive for prey based on the overall mean of the lineup, I will arrive while half the cars were still rolling to a stop — dangerous. So instead, I consider just the top-10% longest lines. Scientists marvel that I learned this algorithm in a single winter. I marvel that they need calculators to compute it.ZEBRA STRIPE SLALOM STRIKEI drop. The scent of hot rubber folds swirls with the cedar‑resin on my breast feathers as the warm air fills my plumage. The slowing bumper of a school bus becomes a landing spot — a moving parapet. Fresh into the dive, the thermoplastic zebra stripes flash white‑white‑white like a stroboscopic speedometer. None of this was made for me, yet every dimension matters for my survival. The curb‑to‑planter setback of 0.9 meters sets my glide angle; the bollard spacing — installed last year to calm e‑scooters — creates a slalom that funnels starlings toward an ornamental plum in a front lawn.Urban design handbooks invoke words like livability and placemaking, as if these geometries were some kind of neutral toolkit. But for me, in the instant before impact, this curb‑to‑planter setback, this bollard slalom, adjudicates more than legal fiction — it means life and death.Urban forms may look passive, yet every angle, radius, and dwell time means someone has won and someone has lost — wide curb radii speed cars through a right-turn but lengthen the crossing exposure for a toddler. Urban geometry is power cast in concrete; it never clocks off, and is both political and ecological: a three‑second refuge for a starling is a three‑second targeting solution for me.FORCE AND FEATHERS FACES FEEDBACKImpact. Feathers erupt like dark gray confetti. The starling crumbles under thirty‑four newtons of closing force — about the weight of a brick slammed into its ribcage. While I mantle the prize, a more philosophical bird might wonder: Who authored this death? Was it my neuromuscular burst alone? Or the person whose fingertip initiated a forty‑second cascade of stopped traffic? Or the traffic engineer who — chasing level‑of‑service targets — extended the red phase by six seconds last fiscal year?Philosophy of science warns against naïve linear causation; urban events rarely run in neat A → B lines. Herbert Simon, writing on complex systems, described cities and organisms as “nearly decomposable hierarchies,” where slow, macro‑scale layers — like signal‑cycle regulations, curb geometries, and commuter habits — set the boundary conditions within which rapid micro‑events unfold. My talon snap and a starling’s dodge happen inside those higher‑order constraints, even as countless such micro‑acts, in aggregate, keep the larger structure of life humming along.My strike, therefore, is a city‑scale phenomenon folded into tendon and keratin — street grids, signal cycles, and global supply chains compressed into one ballistic gesture. In the metallic tang of blood this mystery unfolds. I taste data: adipose fat tissue infused with fryer grease, feather sheaths dusted in brake dust, hormone ratios ticking through molt stage like seasonal code. Each swallow becomes a lab assessment — an unwitting biopsy of the urban food web — revealing how corn subsidies, restaurant waste, and airborne microplastics percolate up the trophic ladder. To devour a single starling is to audit the metabolic ledger of the Anthropocene, one protein strand at a time.All of which reminds me that agency, mine, yours, the starling, is relational: the prey’s demise is over‑determined by a network whose nodes include asphalt viscosity — how a petrochemical blend modulates surface friction, drainage, and midday heat plumes — and municipal bond ratings that decide whether this intersection receives fresh pavement or another crosswalk. Chemistry, finance, and instinct co‑author every kill I make, and every step you take.FIBERS, FOSSILS, AND FIRMWARE REFRESHDusk now drapes the mast in violet. Streetlamps flicker on; LED headlight arrays begin tinting the roadway cyan. Beneath the darkening asphalt, copper once meant for a clicking telegraphs now pipes broadband; beneath that, bricks baked when canals were high‑tech cradle those cables like red‑clay fossils. Media archaeologist Shannon Mattern argues that cities have always computed — tallying grain on cuneiform tablets, ringing bell‑tower hours to synchronize labor, routing mail through pneumatic tubes — only the substrates keep shifting, from clay and bronze to fiber optics and silicon. And trust me, nature was doing math long before humans claimed to invent it.From my perch, epochs overlay transparently: timber palisades, horse drawn carriage tracks, fiber conduits. My hunting tactic is merely firmware patch v.2025 in a 5,000‑year old operating system. Your protocol tomorrow may be Li‑Fi pulses from a smart pole — a future where streetlamps won’t just illuminate, they’ll whisper streams of data in rapid-fire flashes — or the hiss of an autonomous shuttle that brakes at frequencies human reflexes never reach.And you’ll be impressed with yourself. Meanwhile, I listen, map, and adjust — in my world here, survival goes to whoever learns faster, not whoever hits harder. Every fresh tactic buys a heartbeat of advantage, yet it also tightens the ratchet: the prey adapts, signals change, habits shift. Humans follow the same spiral — each smarter signal controller, each app‑driven reroute, plugs one gap while opening two more, slipping us all a step deeper into the city’s endless, restless loop.OF DASHBOARDS AND DAGGER-WINGSHumans may obsess over their dashboards and digital twins, yet a hawk that weighs less than a laptop already runs a live cognitive twin of the urban systems you built. Your impressed with monthly model updates while my model is updated at wingbeat resolution. If Homo sapiens hope to build a resilient future they might start where I perch: by listening for weak signals, mapping contingencies as well as coordinates, and recognizing that every curb, click, and feather participates in these nested conversations of forces.The next time you press that crosswalk button and that electromechanical relay inside the signal‑control box snaps the circuit closed, ask not only whether it is safe to cross but what other intelligences have read that clue before you.Meet us in the hush of those red taillights — inhabit that brief, engine‑silent interstitial where the white pedestrian man shines — then test what flickers in your own peripheral “bird brain”. Listen for the thin rustle of variables you once called noise; trace how a single press of that button ripples through nerves, budgets, buildings and beaks. Hold the silence long enough to notice how even I, a vicious dagger‑winged stalker, leave scraps for ground‑feeders and vacate a block after one clean kill so others may eat. If you can rest in that hush without lunging for your phone or some manically measured meaningless metric, you may begin to practice reciprocity — paring appetite to need, letting leftovers seed the next cycle — while stalking your own assumptions with the same taloned precision I bring to feather and flesh. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io
    --------  
    18:11
  • Launchpads, Land Grabs, and Loopholes
    Hello Interactors,I was in Santa Barbara recently having dinner on a friend’s deck when a rocket’s contrail streaked the sky. “Another one from Vandenberg,” he said. “Wait a couple minutes — you’ll hear it.” And we did. “They’ve gotten really annoying,” he added. He’s not wrong. In early 2024, SpaceX launched seven times more tonnage into space than the rest of the world combined, much of it from Vandenberg Space Force Base (renamed from Air Force Base in 2021). They’ve already been approved to fly 12,000 Starlink satellites, with filings for 30,000 more.This isn’t just future space junk — it’s infrastructure. And it’s not just in orbit. What Musk is doing in the sky is tied to what he’s building on the ground. Not in Vandenberg, where regulation still exists, but in Starbase, Texas, where the law doesn’t resist — it assists. There, Musk is testing how much sovereignty one man can claim under the banner of “innovation” — and how little we’ll do to stop him.TOWNS TO THRUST AND THRONEMusk isn’t just defying gravity — he’s defying law. In South Texas, a place called Starbase has taken shape along the Gulf Coast, hugging the edge of SpaceX’s rocket launch site. What looks like a town is really something else: a launchpad not just for spacecraft, but for a new form of privatized sovereignty.VIDEO: Time compresses at the edge of Starbase: a slow-built frontier where launch infrastructure rises faster than oversight. Source: Google EarthThis isn’t unprecedented. The United States has a long lineage of company towns — places where corporations controlled land, housing, labor, and local government. Pullman, Illinois is the most famous. But while labor historians and economic geographers have documented their economic and social impact, few have examined them as legal structures of power.That’s the gap legal scholar Brian Highsmith identifies in Governing the Company Town. That omission matters — because these places aren’t just undemocratic. They often function as quasi-sovereign legal shells, designed to serve capital, not people.Incorporation is the trick. In Texas, any area with at least 201 residents can petition to become a general-law municipality. That’s exactly what Musk has done. In a recent vote (212 to 6) residents approved the creation of an official town — Starbase. Most of those residents are SpaceX employees living on company-owned land…with a Tesla in the driveway. The result is a legally recognized town, politically constructed. SpaceX controls the housing, the workforce, and now, the electorate. Even the mayor is a SpaceX affiliate. With zoning powers and taxing authority, Musk now holds tools usually reserved for public governments — and he’s using them to build for rockets, not residents…unless they’re employees.VIDEO: Starbase expands frame by frame, not just as a company town, but as a legal experiment — where land, labor, and law are reassembled to serve orbit over ordinance. Source: Google EarthQuinn Slobodian, a historian of neoliberalism and global capitalism, shows how powerful companies and individuals increasingly use legal tools to redesign borders and jurisdictions to their advantage. In his book, Cracked Up Capitalism, he shows how jurisdiction becomes the secret weapon of the capitalist state around the world. I wrote about a techno-optimist fantasy state on the island of Roatán, part of the Bay Islands in Honduras a couple years ago. It isn’t new. Disney used the same playbook in 1967 with Florida’s Reedy Creek District — deeding slivers of land to employees to meet incorporation rules, then governing without real opposition. Highsmith draws a straight line to Musk: both use municipal law not to serve the public, but to avoid it. In Texas, beach access is often blocked near Starbase — even when rockets aren’t launching. A proposed bill would make ignoring an evacuation order a Class B misdemeanor, punishable by jail.Even if Starbase never fully resembles a traditional town, that’s beside the point. What Musk is really revealing isn’t some urban design oasis but how municipal frameworks can still be weaponized for private control. Through zoning laws, incorporation statutes, and infrastructure deals, corporations can shape legal entities that resemble cities but function more like logistical regimes.And yet, this tactic draws little sustained scrutiny. As Highsmith reminds us, legal scholarship has largely ignored how municipal tools are deployed to consolidate corporate power. That silence matters — because what looks like a sleepy launch site in Texas may be something much larger: a new form of rule disguised as infrastructure.ABOVE THE LAW, BELOW THE LANDElon Musk isn’t just shaping towns — he’s engineering systems. His tunnels, satellites, and rockets stretch across and beyond traditional borders. These aren’t just feats of engineering. They’re tools of control designed to bypass civic oversight and relocate governance into private hands. He doesn’t need to overthrow the state to escape regulation. He simply builds around it…and in the case of Texas, with it.Architect and theorist Keller Easterling, whose work examines how infrastructure quietly shapes political life, argues that these systems are not just supports for power — they are power. Infrastructure itself is a kind of operating system for shaping the city, states, countries…and now space.Starlink, SpaceX’s satellite constellation, provides internet access to users around the world. In Ukraine, it became a vital communications network after Russian attacks on local infrastructure. Musk enabled access — then later restricted it. He made decisions with real geopolitical consequences. No president. No Congress. Just a private executive shaping war from orbit.And it’s not just Ukraine. Starlink is now active in dozens of countries, often without formal agreements from national regulators. It bypasses local telecom laws, surveillance rules, and data protections. For authoritarian regimes, that makes it dangerous. But for democracies, it raises a deeper question: who governs the sky?Right now, the answer is: no one. The Outer Space Treaty of 1967 assumes that nation-states, not corporations, are the primary actors in orbit. But Starlink functions in a legal grey zone, using low Earth orbit as a loophole in international law…aided and abetted by the U.S. defense department.VIDEO: Thousands of Starlink satellites, visualized in low Earth orbit, encircle the planet like a privatized exosphere—reshaping global communication while raising questions of governance, visibility, and control. Source: StarlinkThe result is a telecom empire without borders. Musk commands a growing share of orbital infrastructure but answers to no global regulator. The International Telecommunication Union can coordinate satellite spectrum, but it can’t enforce ethical or geopolitical standards. Musk alone decides whether Starlink aids governments, rebels, or armies. As Quinn Slobodian might put it, this is exception-making on a planetary scale.Now let’s go underground. The Boring Company digs high-speed tunnels beneath cities like Las Vegas, sidestepping standard planning processes. These projects often exclude transit agencies and ignore public engagement. They’re built for select users, not the public at large. Local governments, eager for tech-driven investment, offer permits and partnerships — even if it means circumventing democratic procedures.Taken together — Starlink above, Boring Company below, Tesla charging networks on the ground — Musk’s empire moves through multiple layers of infrastructure, each reshaping civic life without formal accountability. His systems carry people, data, and energy — but not through the public channels meant to regulate them. They’re not overseen by voters. They’re not authorized by democratic mandate. Yet they profoundly shape how people move, communicate, and live.Geographer Deborah Cowen, whose research focuses on the global logistics industry, argues that infrastructure like ports, fiber-optic cables, and pipelines have become tools of geopolitical strategy. Logistics as a form of war by other means. Brian Highsmith argues this is a form of “functional fragmentation” — breaking governance into layers and loopholes that allow corporations to sidestep collective control. These aren’t mere workarounds. They signal a deeper shift in how power is organized — not just across space, but through it.This kind of sovereignty is easy to miss because it doesn’t always resemble government. But when a private actor controls transit systems, communication networks, and even military connectivity — across borders, beneath cities, and in orbit — we’re not just dealing with infrastructure. We’re dealing with rule.And, just like with company towns, the legal scholarship is struggling to catch up. These layered, mobile, and non-territorial regimes challenge our categories of law and space alike. What these fantastical projects inspire is often awe. But what they should require is law.AMNESIA AIDS THE AMBITIOUSElon Musk may dazzle with dreams full-blown, but the roots of his power are not his own. The United States has a long tradition of private actors ruling like governments — with public blessing. These aren’t outliers. They’re part of a national pattern, deeply embedded in our legal geography: public authority outsourced to private ambition.The details vary, but the logic repeats. Whether it’s early colonial charters, speculative land empires, company towns, or special districts carved for tech campuses, American history is full of projects where law becomes a scaffold for private sovereignty. Rather than recount every episode, let’s just say from John Winthrop to George Washington to Walt Disney to Elon Musk, America has always made room for men who rule through charters, not elections.Yet despite the frequency of these arrangements, the scholarship has been oddly selective.According to Highsmith, legal academia has largely ignored the institutional architecture that makes company towns possible in the first place: incorporation laws, zoning frameworks, municipal codes, and districting rules. These aren't neutral bureaucratic instruments. They're jurisdictional design tools, capable of reshaping sovereignty at the micro-scale. And when used strategically, they can be wielded by corporations to create functional states-within-a-state — governing without elections, taxing without consent, and shaping public life through private vision.From a critical geography perspective, the problem is just as stark. Scholars have long studied the uneven production of space — how capital reshapes landscapes to serve accumulation. But here, space isn’t just produced — it’s governed. And it’s governed through techniques of legal enclosure, where a patch of land becomes a jurisdictional exception, and a logistics hub or tech campus becomes a mini-regime.Starbase, Snailbrook, Reedy Creek, and even Google’s Sidewalk Labs are not just spatial projects — they're sovereign experiments in spatial governance, where control is layered through contracts, tax breaks, and municipal proxies.But these arrangements don’t arise in a vacuum. Cities often aren’t choosing between public and private control — they’re choosing between austerity and access to cash. In the United States, local governments are revenue-starved by design. Most lack control over income taxes or resource royalties, and depend heavily on sales taxes, property taxes, and development fees. This creates a perverse incentive: to treat corporations not as entities to regulate, but as lifelines to recruit and appease.Desperate for jobs and investment, cities offer zoning concessions, infrastructure deals, and tax abatements, even when they come with little democratic oversight or long-term guarantees. Corporate actors understand this imbalance — and exploit it. The result is a form of urban hostage-taking, where governance is bartered piecemeal in exchange for the promise of economic survival.A more democratized fiscal structure — one that empowers cities through equitable revenue-sharing, progressive taxation, or greater control over land value capture — might reduce this dependency. It would make it possible for municipalities to plan with their citizens instead of negotiating against them. It would weaken the grip of corporate actors who leverage scarcity into sovereignty. But until then, as long as cities are backed into a fiscal corner, we shouldn’t be surprised when they sell off their power — one plot or parking lot at a time.Highsmith argues that these structures demand scrutiny — not just for their economic impact, but for their democratic consequences. These aren't just quirks of local law. They are the fault lines of American federalism — where localism becomes a loophole, and fragmentation becomes a formula for private rule.And yet, these systems persist with minimal legal friction and even less public awareness. Because they don’t always look like sovereignty. Sometimes they look like a housing deal. A fast-tracked zoning change. A development district with deferred taxes. A campus with private shuttles and subsidized utilities. They don't announce themselves as secessions — but they function that way.We’ve been trained to see these projects as innovation, not governance. As entrepreneurship, not policy. But when a company owns the homes, builds the roads, controls the data, and sets the rules, it’s not just offering services — it’s exercising control. As political theorist Wendy Brown has argued, neoliberalism reshapes civic life around the image of the entrepreneur, replacing democratic participation with market performance.That shift plays out everywhere: universities run like corporations, cities managed like startups. Musk isn’t the exception — he’s the clearest expression of a culture that mistakes private ambition for public good. Musk once tweeted, “If you must know, I am a utopian anarchist of the kind best described by Iain Banks.” In a New York Times article, Jill Lepore quoted Banks as saying his science fiction books were about “’hippy commies with hyper-weapons and a deep distrust of both Marketolatry and Greedism.’ He also expressed astonishment that anyone could read his books as promoting free-market libertarianism, asking, ‘Which bit of not having private property and the absence of money in the Culture novels have these people missed?’”The issue isn’t just that we’ve allowed these takeovers — it’s that we’ve ignored the tools enabling them: incorporation, annexation, zoning, and special districts. As Brian Highsmith notes, this quiet shift in power might not have surprised one of our constitution authors, James Madison, but it would have troubled him. In Federalist No. 10, Madison warned not of monarchs, but of factions — small, organized interests capturing government for their own ends. His solution was restraint through scaling oppositional voices. “The inference to which we are brought is, that the causes of faction cannot be removed...and that relief is only to be sought in the means of controlling its effects.”— James Madison, Federalist No. 10 (1787)Today, the structure meant to restrain factions has become their playbook. These actors don’t run for office — they arrive with charters, contracts, and capital. They govern not in the name of the people, but of “efficiency” and “innovation.” And they don’t need to control a nation when a zoning board will do.Unchecked, we risk mistaking corporate control for civic order — and repeating a pattern we’ve barely begun to name.We were told, sold, and promised a universe of shared governance — political, spatial, even orbital. But Madison didn’t trust promises. He trusted structure. He feared what happens when small governments fall to powerful interests — when law becomes a lever for private gain. That fear now lives in legal districts, rocket towns, and infrastructure built to rule. Thousands of satellites orbit the Earth, not launched by publics, but by one man with tools once reserved for states. What was once called infrastructure now governs. What was once geography now obeys.Our maps may still show roads and rails and pipes and ports — but not the fictions beneath them, or the factions they support.References:Brown, W. (2015). Undoing the demos: Neoliberalism’s stealth revolution. Zone Books.Cowen, D. (2014). The deadly life of logistics: Mapping violence in global trade. University of Minnesota Press.Easterling, K. (2014). Extrastatecraft: The power of infrastructure space. Verso Books.Highsmith, B. (2022). Governing the company town: How employers use local government to seize political power. Yale Law Journal.Madison, J. (1787). Federalist No. 10. In A. Hamilton, J. Madison, & J. Jay, The Federalist Papers. Bantam Books (2003 edition).Slobodian, Q. (2023). Crack-Up Capitalism: Market radicals and the dream of a world without democracy. Metropolitan Books. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io
    --------  
    23:08
  • Cities in Chaos, Connection in Crisis
    Hello Interactors,This week, I’ve been reflecting on the themes of my last few essays — along with a pile of research that’s been oddly in sync. Transit planning. Neuroscience. Happiness studies. Complexity theory. Strange mix, but it keeps pointing to the same thing: cities aren’t just struggling with transportation or housing. They’re struggling with connection. With meaning. With the simple question: what kind of happiness should a city make possible? And why don’t we ask that more often?STRANGERS SHUNNED, SYSTEMS SIMULATEDThe urban century was supposed to bring us together. Denser cities, faster mobility, more connected lives — these were the promises of global urbanization. Yet in the shadow of those promises, a different kind of city has emerged in America with growing undertones elsewhere: one that increasingly seeks to eliminate the stranger, bypass friction, and privatize interaction.Whether through algorithmically optimized ride-sharing, private tunnels built to evade street life, or digital maps simulating place without presence for autonomous vehicles, a growing set of design logics work to render other people — especially unknown others — invisible, irrelevant, or avoidable.I admit, I too can get seduced by this comfort, technology, and efficiency. But cities aren’t just systems of movement — they’re systems of meaning. Space is never neutral; it’s shaped by power and shapes behavior in return. This isn’t new. Ancient cities like Teotihuacan (tay-oh-tee-wah-KAHN) in central Mexico, once one of the largest cities in the world, aligned their streets and pyramids with the stars. Chang’an (chahng-AHN), the capital of Tang Dynasty China, used strict cardinal grids and walled compounds to reflect Confucian ideals of order and hierarchy. And Uruk (OO-rook), in ancient Mesopotamia, organized civic life around temple complexes that stood at the spiritual and administrative heart of the city.These weren’t just settlements — they were spatial arguments about how people should live together, and who should lead. Even Middle Eastern souks and hammams were more than markets or baths; they were civic infrastructure. Whether through temples or bus stops, the question is the same: What kind of social behavior is this space asking of us?Neuroscience points to answers. As Shane O’Mara argues, walking is not just transport — it’s neurocognitive infrastructure. The hippocampus, which governs memory, orientation, and mood, activates when we move through physical space. Walking among others, perceiving spontaneous interactions, and attending to environmental cues strengthens our cognitive maps and emotional regulation.This makes city oriented around ‘stranger danger’ not just unjust — but indeed dangerous. Because to eliminate friction is to undermine emergence — not only in the social sense, but in the economic and cultural ones too. Cities thrive on weak ties, on happenstance, on proximity without intention. Mark Granovetter’s landmark paper, The Strength of Weak Ties, showed that it's those looser, peripheral relationships — not our inner circles — that drive opportunity, creativity, and mobility. Karl Polanyi called it embeddedness: the idea that markets don’t float in space, they’re grounded in the social fabric around them.You see it too in scale theory — in the work of Geoffrey West and Luís Bettencourt — where the productive and innovative energy of cities scales with density, interaction, and diversity. When you flatten all that into private tunnels and algorithmic efficiency, you don’t just lose the texture — you lose the conditions for invention.As David Roberts, a climate and policy journalist known for his systems thinking and sharp urban critiques, puts it: this is “the anti-social dream of elite urbanism” — a vision where you never have to share space with anyone not like you. In conversation with him, Jarrett Walker, a transit planner and theorist who’s spent decades helping cities design equitable bus networks, also pushes back against this logic. He warns that when cities build transit around avoidance — individualized rides, privatized tunnels, algorithmic sorting — they aren’t just solving inefficiencies. They’re hollowing out the very thing that makes transit (and cities) valuable and also public: the shared experience of strangers moving together.The question isn’t just whether cities are efficient — but what kind of social beings they help us become. If we build cities to avoid each other, we shouldn’t be surprised when they crumble as we all forget how to live together.COVERAGE, CARE, AND CIVIC CALMIf you follow urban and transit planning debates long enough, you’ll hear the same argument come up again and again: Should we focus on ridership or coverage? High-frequency routes where lots of people travel, or wide access for people who live farther out — even if fewer use the service? For transit nerds, it’s a policy question. For everyone else, it’s about dignity.As Walker puts it, coverage isn’t about efficiency — it’s about “a sense of fairness.” It’s about living in a place where your city hasn’t written you off because you’re not profitable to serve. Walker’s point is that coverage isn’t charity. It’s a public good, one that tells people: You belong here.That same logic shows up in more surprising places — like the World Happiness Report. Year after year, Finland lands at the top. But as writer Molly Young found during her visit to Helsinki, Finnish “happiness” isn’t about joy or euphoria. It’s about something steadier: trust, safety, and institutional calm. What the report measures is evaluative happiness — how satisfied people are with their lives over time — not affective happiness, which is more about momentary joy or emotional highs.There’s a Finnish word that captures this. It the feeling you get after a sauna: saunanjälkeinen raukeus (SOW-nahn-yell-kay-nen ROW-keh-oos) — the softened, slowed state of the body and mind. That’s what cities like Helsinki seem to deliver: not bliss, but a stable, low-friction kind of contentment. And while that may lack sparkle, it makes people feel held.And infrastructure plays a big role. In Helsinki, the signs in the library don’t say “Be Quiet.” They say, “Please let others work in peace.” It’s a small thing, but it speaks volumes — less about control, more about shared responsibility. There are saunas in government buildings. Parents leave their babies sleeping in strollers outside cafés. Transit is clean, quiet, and frequent. As Young puts it, these aren’t luxuries — they’re part of a “bone-deep sense of trust” the city builds and reinforces. Not enforced from above, but sustained by expectation, habit, and care.My family once joined an organized walking tour of Copenhagen. The guide, who was from Spain, pointed to a clock in a town square and said, almost in passing, “The government has always made sure this clock runs on time — even during war.” It wasn’t just about punctuality. It was about trust. About the quiet promise that the public realm would still hold, even when everything else felt uncertain. This, our guide noted from his Spanish perspective, is what what make Scandinavians so-called ‘happy’. They feel held.Studies show that most of what boosts long-term happiness isn’t about dopamine hits — it’s about relational trust. Feeling safe. Feeling seen. Knowing you won’t be stranded if you don’t have a car or a credit card. Knowing the city works, even if you don’t make it work for you.In this way, transit frequency and subtle signs in Helsinki are doing the same thing. They’re shaping behavior and reinforcing social norms. They’re saying: we share space here. Don’t be loud. Don’t cut in line. Don’t treat public space like it’s only for you.That kind of city can’t be built on metrics alone. It needs moral imagination — the kind that sees coverage, access, and slowness as features, not bugs. That’s not some socialist’s idea of utopia. It’s just thoughtful. Built into the culture, yes, but also the design.But sometimes we’re just stuck with whatever design is already in place. Even if it’s not so thoughtful. Economists and social theorists have long used the concept of path dependence to explain why some systems — cities, institutions, even technologies — get stuck. The idea dates back to work in economics and political science in the 1980s, where it was used to show how early decisions, even small ones, can lock in patterns that are hard to reverse.Once you’ve laid train tracks, built freeways, zoned for single-family homes — you’ve shaped what comes next. Changing course isn’t impossible, but it’s costly, slow, and politically messy. The QWERTY keyboard is a textbook example: not the most efficient layout, but one that stuck because switching systems later would be harder than just adapting to what we’ve got.Urban scholars Michael Storper and Allen Scott brought this thinking into city studies. They’ve shown how economic geography and institutional inertia shape urban outcomes — how past planning decisions, labor markets, and infrastructure investments limit the options cities have today. If your city bet on car-centric growth decades ago, you’re probably still paying for that decision, even if pivoting is palatable to the public.CONNECTIONS, COMPLEXITY, CITIES THAT CAREThere’s a quote often attributed to Stephen Hawking that’s made the rounds in complexity science circles: “The 21st century will be the century of complexity.” No one’s entirely sure where he said it — it shows up in systems theory blogs, talks, and books — but it sticks. Probably because it feels true.If the last century was about physics — closed systems, force, motion, precision — then this one is about what happens when the pieces won’t stay still. When the rules change mid-game. When causes ripple back as consequences. In other words: cities.Planners have tried to tame that complexity in all kinds of ways. Grids. Zoning codes. Dashboards. There’s long been a kind of “physics envy” in both planning and economics — a belief that if we just had the right model, the right inputs, we could predict and control the city like a closed system. As a result, for much of the 20th century, cities were designed like machines — optimized for flow, separation, and predictability.But even the pushback followed a logic of control — cul-de-sacs and suburban pastoralism — wasn’t a turn toward organic life or spontaneity. It was just a softer kind of order: winding roads and whispered rules meant to keep things calm, clean, and contained…and mostly white and moderately wealthy.If you think of cities like machines, it makes sense to want control. More data, tighter optimization, fewer surprises. That’s how you’d tune an engine or write software. But cities aren’t machines. They’re messy, layered, and full of people doing unpredictable things. They’re more like ecosystems — or weather patterns — than they are a carburetor. And that’s where complexity science becomes useful.People like Paul Cilliers and Brian Castellani have argued for a more critical kind of complexity science — one that sees cities not just as networks or algorithms, but as places shaped by values, power, and conflict. Cilliers emphasized that complex systems, like cities, are open and dynamic: they don’t have fixed boundaries, they adapt constantly, and they respond to feedback in ways no planner can fully predict. Castellani extends this by insisting that complexity isn’t just technical — it’s ethical. It demands we ask: Who benefits from a system’s design? Who has room to adapt, and who gets constrained? In this view, small interventions — a zoning tweak, a route change — can set off ripple effects that reshape how people move, connect, and belong. A new path dependence.This is why certainty is dangerous in urban design. It breeds overconfidence. Humility is a better place to start. As Jarrett Walker puts it, “there are all kinds of ways to fake your way through this.” Agencies often adopt feel-good mission statements like “compete with the automobile by providing access for all” — which, he notes, is like “telling your taxi driver to turn left and right at the same time.” You can’t do both. Not on a fixed budget.Walker pushes agencies to be honest: if you want to prioritize ridership, say so. If you want to prioritize broad geographic coverage, that’s also valid — but know it will mean lower ridership. The key is not pretending you can have both at full strength. He says, “What I want is for board members… to make this decision consciously and not be surprised by the consequences”.These decisions matter. A budget cut can push riders off buses, which then leads to reduced service, which leads to more riders leaving — a feedback loop. On the flip side, small improvements — like better lighting, a public bench, a frequent bus — can set off positive loops too. Change emerges, often sideways.That means thinking about transit not just as a system of movement, but as a relational space. Same with libraries, parks, and sidewalks. These aren’t neutral containers. They’re environments that either support or suppress human connection. If you design a city to eliminate friction, you eliminate chance encounters — the stuff social trust is made of.I’m an introvert. I like quiet. I recharge alone. But I also live in a city — and I’ve learned that even for people like me, being around others still matters. Not in the chatty, get-to-know-your-neighbors way. But in the background hum of life around you. Sitting on a bus. Browsing in a bookstore. Walking down a street full of strangers, knowing you don’t have to engage — but you’re not invisible either.There’s a name for this. Psychologists call it public solitude or sometimes energized privacy — the comfort of being alone among others. Not isolated, not exposed. Just held, lightly, in the weave of the crowd. And the research backs it up: introverts often seek out public spaces like cafés, libraries, or parks not to interact, but to feel present — connected without pressure.In the longest-running happiness study ever done, 80 years, Harvard psychologist Robert Waldinger found that strong relationships — not income, not status — were the best predictor of long-term well-being. More recently, studies have shown that even brief interactions with strangers — on a bus, in a coffee shop — can lift mood and reduce loneliness. But here’s the catch: cities have to make those interactions possible.Or they don’t.And that’s the real test of infrastructure. We’ve spent decades designing systems to move people through. Fast. Clean. Efficient. But we’ve neglected the quiet spaces that let people just be. Sidewalks you’re not rushed off of. Streets where kids can safely bike or play…or simply cross the street.Even pools — maybe especially pools. My wife runs a nonprofit called SplashForward that’s working to build more public pools. Not just for fitness, but because pools are public space. You float next to people you may never talk to. And still, you’re sharing something. Space. Water. Time.You see this clearly in places like Finland and Iceland, where pools and saunas are built into the rhythms of public life. They’re not luxuries — they’re civic necessities. People show up quietly, day after day, not to socialize loudly, but to be alone together. As one Finnish local told journalist Molly Young, “During this time, we don’t have... colors.” It was about the long gray winter, sure — but also something deeper: a culture that values calm over spectacle. Stability over spark. A kind of contentment that doesn’t perform.But cities don’t have to choose between quiet and joy. We don’t have to model every system on Helsinki in February. There’s something beautiful in the American kind of happiness too — the loud, weird, spontaneous moments that erupt in public. The band on the subway. The dance party in the park. The loud kid at the pool. That kind of energy can be a nuisance, but it can also be joyful.Even Jarrett Walker, who’s clear-eyed about transit, doesn’t pretend it solves everything. Transit isn’t always the answer. Sometimes a car is the right tool. What matters is whether everyone has a real choice — not just those with money or proximity or privilege. And he’s quick to admit every city with effective transit has its local grievances.So no, I’m not arguing for perfection, or even socialism. I’m arguing for a city that knows how to hold difference. Fast and slow. Dense and quiet. A city that lets you step into the crowd, or sit at its edge, and still feel like you belong. A place to comfortably sit with the uncertainty of this great transformation emerging around us. Alone and together.REFERENCESCastellani, B. (2014). Complexity theory and the social sciences: The state of the art. Routledge.Cilliers, P. (1998). Complexity and postmodernism: Understanding complex systems. Routledge.David, P. A. (1985). Clio and the economics of QWERTY. The American Economic Review.Granovetter, M. (1973). The strength of weak ties. American Journal of Sociology.Hawking, S. (n.d.). The 21st century will be the century of complexity. [Attributed quote; primary source unavailable].O’Mara, S. (2019). In praise of walking: A new scientific exploration. W. W. Norton & Company.Roberts, D. (Host). (2025). Jarrett Walker on what makes good transit [Audio podcast episode]. In Volts.Storper, M., & Scott, A. J. (2016). Current debates in urban theory: A critical assessment. Urban Studies.Waldinger, R., & Schulz, M. (2023). The good life: Lessons from the world’s longest scientific study of happiness. Simon & Schuster.Walker, J. (2011). Human transit: How clearer thinking about public transit can enrich our communities and our lives. Island Press.West, G., & Bettencourt, L. M. A. (2010). A unified theory of urban living. Nature.Young, M. (2025). My miserable week in the ‘happiest country on earth’. The New York Times Magazine. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io
    --------  
    23:00
  • You Are Here. But Nowhere Means Anything
    Hello Interactors,This week, the European Space Agency launched a satellite to "weigh" Earth's 1.5 trillion trees. It will give scientists deeper insight into forests and their role in the climate — far beyond surface readings. Pretty cool. And it's coming from Europe.Meanwhile, I learned that the U.S. Secretary of Defense — under Trump — had a makeup room installed in the Pentagon to look better on TV. Also pretty cool, I guess. And very American.The contrast was hard to miss. Even with better data, the U.S. shows little appetite for using geographic insight to actually address climate change. Information is growing. Willpower, not so much.So it was oddly clarifying to read a passage Christopher Hobson posted on Imperfect Notes from a book titled America by a French author — a travelogue of softs. Last week I offered new lenses through which to see the world, I figured I’d try this French pair on — to see America, and the world it effects, as he did.PAPER, POWER, AND PROJECTIONI still have a folded paper map of Seattle in the door of my car. It’s a remnant of a time when physical maps reflected the reality before us. You unfolded a map and it innocently offered the physical world on a page. The rest was left to you — including knowing how to fold it up again.But even then, not all maps were neutral or necessarily innocent. Sure, they crowned capitals and trimmed borders, but they could also leave things out or would make certain claims. From empire to colony, from mission to market, maps often arrived not to reflect place, but to declare control of it. Still, we trusted it…even if was an illusion.I learned how to interrogate maps in my undergraduate history of cartography class — taught by the legendary cartographer Waldo Tobler. But even with that knowledge, when I was then taught how to make maps, that interrogation was more absent. I confidently believed I was mediating truth. The lines and symbols I used pointed to substance; they signaled a thing. I traced rivers from existing base maps with a pen on vellum and trusted they existed in the world as sure as the ink on the page. I cut out shading for a choropleth map and believed it told a stable story about population, vegetation, or economics. That trust was embodied in representation — the idea that a sign meant something enduring. That we could believe what maps told us.This is the world of semiotics — the study of how signs create meaning. American philosopher Charles Sanders Peirce offered a sturdy model: a sign (like a map line) refers to an object (the river), and its meaning emerges in interpretation. Meaning, in this view, is relational — but grounded. A stop sign, a national anthem, a border — they meant something because they pointed beyond themselves, to a world we shared.But there are cracks in this seemingly sturdy model.These cracks pose this question: why do we trust signs in the first place? That trust — in maps, in categories, in data — didn’t emerge from neutrality. It was built atop agendas.Take the first U.S. census in 1790. It didn’t just count — it defined. Categories like “free white persons,” “all other free persons,” and “slaves” weren’t neutral. They were political tools, shaping who mattered and by how much. People became variables. Representation became abstraction.Or Carl Linnaeus, the 18th-century Swedish botanist who built the taxonomies we still use: genus, species, kingdom. His system claimed objectivity but was shaped by distance and empire. Linnaeus never left Sweden. He named what he hadn’t seen, classified people he’d never met — sorting humans into racial types based on colonial stereotypes. These weren’t observations. They were projections based on stereotypes gathered from travelers, missionaries, and imperial officials.Naming replaced knowing. Life was turned into labels. Biology became filing. And once abstracted, it all became governable, measurable, comparable, and, ultimately, manageable.Maps followed suit.What once lived as a symbolic invitation — a drawing of place — became a system of location. I was studying geography at a time (and place) when Geographic Information Systems (GIS) and GIScience was transforming cartography. Maps weren’t just about visual representations; they were spatial databases. Rows, columns, attributes, and calculations took the place of lines and shapes on map. Drawing what we saw turned to abstracting what could then be computed so that it could then be visualized, yes, but also managed.Chris Perkins, writing on the philosophy of mapping, argued that digital cartographies didn’t just depict the world — they constituted it. The map was no longer a surface to interpret, but a script to execute. As critical geographers Sam Hind and Alex Gekker argue, the modern “mapping impulse” isn’t about understanding space — it’s about optimizing behavior through it; in a world of GPS and vehicle automation, the map no longer describes the territory, it becomes it. Laura Roberts, writing on film and geography, showed how maps had fused with cinematic logic — where places aren’t shown, but performed. Place and navigation became narrative. New York in cinema isn’t a place — it’s a performance of ambition, alienation, or energy. Geography as mise-en-scène.In other words, the map’s loss of innocence wasn’t just technical. It was ontological — a shift in the very nature of what maps are and what kind of reality they claim to represent. Geography itself had entered the domain of simulation — not representing space but staging it. You can simulate traveling anywhere in the world, all staged on Google maps. Last summer my son stepped off the train in Edinburgh, Scotland for the first time in his life but knew exactly where he was. He’d learned it driving on simulated streets in a simulated car on XBox. He walked us straight to our lodging.These shifts in reality over centuries weren’t necessarily mistakes. They unfolded, emerged, or evolved through the rational tools of modernity — and for a time, they worked. For many, anyway. Especially for those in power, seeking power, or benefitting from it. They enabled trade, governance, development, and especially warfare. But with every shift came this question: at what cost?FROM SIGNS TO SPECTACLEAs early as the early 1900s, Max Weber warned of a world disenchanted by bureaucracy — a society where rationalization would trap the human spirit in what he called an iron cage. By mid-century, thinkers pushed this further.Michel Foucault revealed how systems of knowledge — from medicine to criminal justice — were entangled with systems of power. To classify was to control. To represent was to discipline. Roland Barthes dissected the semiotics of everyday life — showing how ads, recipes, clothing, even professional wrestling were soaked in signs pretending to be natural.Guy Debord, in the 1967 The Society of the Spectacle, argued that late capitalism had fully replaced lived experience with imagery. “The spectacle,” he wrote, “is not a collection of images, but a social relation among people, mediated by images.”Then came Jean Baudrillard — a French sociologist, media theorist, and provocateur — who pushed the critique of representation to its limit. In the 1980s, where others saw distortion, he saw substitution: signs that no longer referred to anything real. Most vividly, in his surreal, gleaming 1986 travelogue America, he described the U.S. not as a place, but as a performance — a projection without depth, still somehow running.Where Foucault showed that knowledge was power, and Debord showed that images replaced life, Baudrillard argued that signs had broken free altogether. A map might once distort or simplify — but it still referred to something real. By the late 20th century, he argued, signs no longer pointed to anything. They pointed only to each other.You didn’t just visit Disneyland. You visited the idea of America — manufactured, rehearsed, rendered. You didn’t just use money. You used confidence by handing over a credit card — a symbol of wealth that is lighter and moves faster than any gold.In some ways, he was updating a much older insight by another Frenchman. When Alexis de Tocqueville visited America in the 1830s, he wasn’t just studying law or government — he was studying performance. He saw how Americans staged democracy, how rituals of voting and speech created the image of a free society even as inequality and exclusion thrived beneath it. Tocqueville wasn’t cynical. He simply understood that America believed in its own image — and that belief gave it a kind of sovereign feedback loop.Baudrillard called this condition simulation — when representation becomes self-contained. When the distinction between real and fake no longer matters because everything is performance. Not deception — orchestration.He mapped four stages of this logic:* Faithful representation – A sign reflects a basic reality. A map mirrors the terrain.* Perversion of reality – The sign begins to distort. Think colonial maps as logos or exclusionary zoning.* Pretending to represent – The sign no longer refers to anything but performs as if it does. Disneyland isn’t America — it’s the fantasy of America. (ironically, a car-free America)* Pure simulation – The sign has no origin or anchor. It floats. Zillow heatmaps, Uber surge zones — maps that don’t reflect the world, but determine how you move through it.We don’t follow maps as they were once known anymore. We follow interfaces.And not just in apps. Cities themselves are in various stages of simulation. New York still sells itself as a global center. But in a distributed globalized and digitized economy, there is no center — only the perversion of an old reality. Paris subsidizes quaint storefronts not to nourish citizens, but to preserve the perceived image of Paris. Paris pretending to be Paris. Every city has its own marketing campaign. They don’t manage infrastructure — they manage perception. The skyline is a product shot. The streetscape is marketing collateral and neighborhoods are optimized for search.Even money plays this game.The U.S. dollar wasn’t always king. That title once belonged to the British pound — backed by empire, gold, and industry. After World War II, the dollar took over, pegged to gold under the Bretton Woods convention — a symbol of American postwar power stability…and perversion. It was forged in an opulent, exclusive, hotel in the mountains of New Hampshire. But designed in the style of Spanish Renaissance Revival, it was pretending to be in Spain. Then in 1971, Nixon snapped the dollar’s gold tether. The ‘Nixon Shock’ allowed the dollar to float — its value now based not on metal, but on trust. It became less a store of value than a vessel of belief. A belief that is being challenged today in ways that recall the instability and fragmentation of the pre-WWII era.And this dollar lives in servers, not Industrial Age iron vaults. It circulates as code, not coin. It underwrites markets, wars, and global finance through momentum alone. And when the pandemic hit, there was no digging into reserves.The Federal Reserve expanded its balance sheet with keystrokes — injecting trillions into the economy through bond purchases, emergency loans, and direct payments. But at the same time, Trump 1.0 showed printing presses rolling, stacks of fresh bills bundled and boxed — a spectacle of liquidity. It was monetary policy as theater. A simulation of control, staged in spreadsheets by the Fed and photo ops by the Executive Branch. Not to reflect value, but to project it. To keep liquidity flowing and to keep the belief intact.This is what Baudrillard meant by simulation. The sign doesn’t lie — nor does it tell the truth. It just works — as long as we accept it.MOOD OVER MEANINGReality is getting harder to discern. We believe it to be solid — that it imposes friction. A law has consequences. A price reflects value. A city has limits. These things made sense because they resist us. Because they are real.But maybe that was just the story we told. Maybe it was always more mirage than mirror.Now, the signs don’t just point to reality — they also replace it. We live in a world where the image outpaces the institution. Where the copy is smoother than the original. Where AI does the typing. Where meaning doesn’t emerge — it arrives prepackaged and pre-viral. It’s a kind of seductive deception. It’s hyperreality where performance supersedes substance. Presence and posture become authority structured in style.Politics is not immune to this — it’s become the main attraction.Trump’s first 100 days didn’t aim to stabilize or legislate but to signal. Deportation as UFC cage match — staged, brutal, and televised. Tariff wars as a way of branding power — chaos with a catchphrase. Climate retreat cast as perverse theater. Gender redefined and confined by executive memo. Birthright citizenship challenged while sedition pardoned. Even the Gulf of Mexico got renamed. These aren’t policies, they’re productions.Power isn’t passing through law. It’s passing through the affect of spectacle and a feed refresh.Baudrillard once wrote that America doesn’t govern — it narrates. Trump doesn’t manage policy, he manages mood. Like an actor. When America’s Secretary of Defense, a former TV personality, has a makeup studio installed inside the Pentagon it’s not satire. It’s just the simulation, doing what it does best: shining under the lights.But this logic runs deeper than any single figure.Culture no longer unfolds. It reloads. We don’t listen to the full album — we lift 10 seconds for TikTok. Music is made for algorithms. Fashion is filtered before it’s worn. Selfhood is a brand channel. Identity is something to monetize, signal, or defend — often all at once.The economy floats too. Meme stocks. NFTs. Speculative tokens. These aren’t based in value — they’re based in velocity. Attention becomes the currency.What matters isn’t what’s true, but what trends. In hyperreality, reference gives way to rhythm. The point isn’t to be accurate. The point is to circulate. We’re not being lied to.We’re being engaged. And this isn’t a bug, it’s a feature.Which through a Baudrillard lens is why America — the simulation — persists.He saw it early. Describing strip malls, highways, slogans, themed diners he saw an America that wasn’t deep. That was its genius he saw. It was light, fast paced, and projected. Like the movies it so famously exports. It didn’t need justification — it just needed repetition.And it’s still repeating.Las Vegas is the cathedral of the logic of simulation — a city that no longer bothers pretending. But it’s not alone. Every city performs, every nation tries to brand itself. Every policy rollout is scored like a product launch. Reality isn’t navigated — it’s streamed.And yet since his writing, the mood has shifted. The performance continues, but the music underneath it has changed. The techno-optimism of Baudrillard’s ‘80s an ‘90s have curdled. What once felt expansive now feels recursive and worn. It’s like a show running long after the audience has gone home. The rager has ended, but Spotify is still loudly streaming through the speakers.“The Kids' Guide to the Internet” (1997), produced by Diamond Entertainment and starring the unnervingly wholesome Jamison family. It captures a moment of pure techno-optimism — when the Internet was new, clean, and family-approved. It’s not just a tutorial; it’s a time capsule of belief, staged before the dream turned into something else. Before the feed began to feed on us.Trumpism thrives on this terrain. And yet the world is changing around it. Climate shocks, mass displacement, spiraling inequality — the polycrisis has a body count. Countries once anchored to American leadership are squinting hard now, trying to see if there’s anything left behind the screen. Adjusting the antenna in hopes of getting a clearer signal. From Latin America to Southeast Asia to Europe, the question grows louder: Can you trust a power that no longer refers to anything outside itself?Maybe Baudrillard and Tocqueville are right — America doesn’t point to a deeper truth. It points to itself. Again and again and again. It is the loop. And even now, knowing this, we can’t quite stop watching. There’s a reason we keep refreshing. Keep scrolling. Keep reacting. The performance persists — not necessarily because we believe in it, but because it’s the only script still running.And whether we’re horrified or entertained, complicit or exhausted, engaged or ghosted, hired or fired, immigrated or deported, one thing remains strangely true: we keep feeding it. That’s the strange power of simulation in an attention economy. It doesn’t need conviction. It doesn’t need conscience. It just needs attention — enough to keep the momentum alive. The simulation doesn’t care if the real breaks down. It just keeps rendering — soft, seamless, and impossible to look away from. Like a dream you didn’t choose but can’t wake up from.REFERENCESBarthes, R. (1972). Mythologies (A. Lavers, Trans.). Hill and Wang. (Original work published 1957)Baudrillard, J. (1986). America (C. Turner, Trans.). Verso.Debord, G. (1994). The Society of the Spectacle (D. Nicholson-Smith, Trans.). Zone Books. (Original work published 1967)Foucault, M. (1977). Discipline and Punish: The Birth of the Prison (A. Sheridan, Trans.). Vintage Books.Hind, S., & Gekker, A. (2019). On autopilot: Towards a flat ontology of vehicular navigation. In C. Lukinbeal et al. (Eds.), Media’s Mapping Impulse. Franz Steiner Verlag.Linnaeus, C. (1735). Systema Naturae (1st ed.). Lugduni Batavorum.Perkins, C. (2009). Philosophy and mapping. In R. Kitchin & N. Thrift (Eds.), International Encyclopedia of Human Geography. Elsevier.Raaphorst, K., Duchhart, I., & van der Knaap, W. (2017). The semiotics of landscape design communication. Landscape Research.Roberts, L. (2008). Cinematic cartography: Movies, maps and the consumption of place. In R. Koeck & L. Roberts (Eds.), Cities in Film: Architecture, Urban Space and the Moving Image. University of Liverpool.Tocqueville, A. de. (2003). Democracy in America (G. Lawrence, Trans., H. Mansfield & D. Winthrop, Eds.). University of Chicago Press. (Original work published 1835)Weber, M. (1958). The Protestant Ethic and the Spirit of Capitalism (T. Parsons, Trans.). Charles Scribner’s Sons. (Original work published 1905) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io
    --------  
    24:31

More Science podcasts

About Interplace

Interplace explores the interaction of people and place. It looks at how we move within and between the places we live and what led us here in the first place. interplace.io
Podcast website

Listen to Interplace, Curious Cases and many other podcasts from around the world with the radio.net app

Get the free radio.net app

  • Stations and podcasts to bookmark
  • Stream via Wi-Fi or Bluetooth
  • Supports Carplay & Android Auto
  • Many other app features
Social
v7.20.1 | © 2007-2025 radio.de GmbH
Generated: 7/4/2025 - 1:38:57 AM