tunnels.

When I was in college, there was always moments in classes that had to do with my degree, mathematics, where the text book would say something like “this proof left as an exercise for the reader”. The implication of this phrase is that the proof is trivial and there is no need to spill extra textbook ink on laying out the obvious. The problem with coming across these texts, is that sometimes I had no idea what was so obvious: it was clear the writer of the book and I were on much different pages. Obviously in this case I was sort of screwed as learning the material was in my interests. There’s another time when I get a similar feeling, but have no interest in learning the material and that’s when I read conspiracy theories: I’m happy to nod along and keep flipping pages just to get the caricature of a world view that I don’t see.

Outside of the terrible amount of death, illness, and racism that Covid-19 has brought, there has been a bit of joy to be had by reading into the conspiracy theories it has also spawned. And not just readings, but WATCHING people explain them, as they spread their arms out to a waiting audience that is their echo chamber as if to say “do I really have to say this out loud? Talk about this thing that we all know is so obvious??!?” And in this manner I’ve been learning about the child slaves in tunnels under Central Park, 5G creating Covid-19, Bill Gates funding the creation of the virus (and subsequently making a vaccine that will, obviously, have nanobots in it to take control of my… something), different countries/different organizations releasing the virus, etc.

I love how the phrase “and then, you know…”, poised as a preface to indicating the sentence logic is as ubiquitous as a peanut butter and jelly sandwich, but is more of a clam and pineapple flavored yogurt. “I went to the store to pick up some milk and then, you know… lit the building on fire.” I had a friend who said to me in response to things going really good with a woman he was seeing, “she’s really great and, you know, my calves are really soar” delivered with a knowing nod.

Nope. Not on the same page.

And I get that some of these conspiracies should be pushed back on with facts versus just laughed at, as some lead down roads to places like the creation of the anti-vaxxer movement, but anything that is QAnon adjacent I find to be of equal entertainment as trashy tv; something to watch in a Greyhound bus station or briefly stew in while eating a Dorrito (get out of here ranch flavor people).

I’m curious what conspiracy theories give to people outside of a satisfaction that they know something that others don’t. Everything I’ve been thinking about recently has been through the lens of tools that shape tools: culture being a tool to shape an individual, but also individuals are tools to shape culture. If we become focused on only one part of this dynamic we lose the brackish moment of tool and output; the salty/sweet that I think we all end up finding value in.

A conspiracy theory is a bit like the creation of a tool without a need for use. Just like making a language full of words and no poetry.

Anywho. I gotta get back to looking for lizard people.

green line


(https://drive.google.com/open?id=1q1mviZokOAyXsVgIBmEIGmIh6zYnhJnC&usp=sharing)

Biking in LA is a pretty daunting experience. There’s not a lot of awareness to the fact that bikers may be on the road, which leads to a lot of cars turning into my path and parked cars opening doors without looking out for bikes (Dutch Reach guys (https://www.dutchreach.org/)! Come on!). To bike in LA is to be in a haunted house: muscles tense and ready for something to jump out of anywhere.

Pictured are the three bike routes I typically take between my studio and apartment, which I’d like to walk you through so that if you find yourself navigating a similar section of the city you can use my carefully found routes.

The main deciding factor to any segment of this ride is to avoid death and the sun. Death is avoided by getting off busier roads (which doesn’t necessarily mean finding bike friendly roads, since cars don’t really notice bike lanes here), and avoiding sun is done by finding routes with taller buildings so on sunny days I can hug the shadows. I sweat like a misting system in a grocery store on high, so shadows are necessary in the summer if I don’t want to turn my bike ride into a swim as well.

I leave my apartment and head south on Spring street. There’s a bike lane down Spring that is separated from traffic which runs one way where the bike lane runs both ways, which confuses pedestrians and delivery people crossing the bike lane causing a lot of “looking the wrong direction and stepping in front of a bike” or “hand truck pushed out from between two cars into a bike wheel”, so it’s best to ride in the street. Hand trucks will kill you. Also I don’t like that the cars traveling down Spring get a green left arrow before the bike lanes get a green, which means traffic gets to go before me at lights, so I usually stay in the right lane with the buses which move slower than a bike anyway. I’m a minnow on the shark that is their frame.

I usually look to the right as I pass Verve Coffee: there’s always attractive people outside making a show of it. Across from Verve is a bar called Tuck, which I think went under, but a friend of mine, Bobby, used to work there and I have some strange stories about the chef and his wife for another time.

The light at 9th I usually run because there are never cars coming. The road just got redone from here down Spring, so it’s nice new pavement with extra wide lanes. I like to enjoy this with a bit of weaving around, because after running the red at 9th the street is empty of traffic and affords 3 lanes of asphalt abyss.


Turning on Olympic takes me through the fashion district. I love this section to look at saucy skin tight getups on mannequins looking like they are from a 15 year old boy’s wet dream, mixed with ballroom gowns and sunglasses (which if passing at the right time of day make me feel like an ant under a 1000 magnifying glasses). At Maple I start to hear a couple speaker stores blaring 96.3, “LA’s number 1 party station”. Olympic ends at San Julian in front of this weird empty lot with rectangular half-made parking structure in it. I think it’s mostly used for movie shoots, and sometimes there’s a guard sitting here in a day-glow vest looking at things on their phone.

Google maps shows I can go straight, but I can’t.


I head down to 12th and take a left. This lets me cross San Pedro versus having to ride down it at some point before, which is a blessing. I used to make part of this ride down San Pedro, staying pretty tight to the parked cars, but had too many close calls with people opening their doors.


From here it’s smooth sailing until Hooper. Along the way, I pass fast fashion house after fast fashion house and the Coco Cola shipping center (birch street) which sometimes means a semi jack-kniffed across 12th, but I can usually squeeze by on the right side. I guy with dry skin on the end of his nose and these beautiful brown leather boots once tried to sell me a diamond necklace here on the side of the street. "Diamond" probably meant "glass"; a pretty necklace all done up and nowhere to go.

At Hooper I do a quick left/right passing a great taco truck on the corner and an attractive woman with a huge sign for one of the bulk produce places within a stones throw, that only sell onions and oranges. She’s never advertising the same place. Also a guy on the street here sells bike frames. No wheels. Only frames.


At Compton Ave and 14th I have to watch out for the lake that forms if it has rained AT ALL within the last 24 hours. If the lake is there, I dodge to the left sidewalk, and try to shoot the gap between the warehouse and a tractor that seems to always be parked on this corner. Sometimes a dismount is necessary if a car coming down 14th happens to be coming up Compton (rare). There’s a husband and wife behind the tractor with two palettes of oranges here on Mondays. I imagine cheaper than the bulk produce places, though I’ve never stopped.

14th and Long Beach is a part of road that LA has decided to pave in the style of “waves crashing onto a jagged rock shore”. If your bike has small tires, this part of the ride is a bit like playing an old NES strategy game, hopping from rideable pavement to rideable pavement. In general, LA streets are some of the worst kept streets I have ever ridden a bike on, but this stretch until the studio starts to go downhill fast. (There’s a section of road I drive, down Soto towards Vernon. There, right before I hit the walls of slaughtered pig smell from Farmer Johns, I’ve smashed my head into the roof of my car twice going over what can only be described as peaks and valleys of Soto.)

I keep my eyes glued to what is in front of my tire from here on out: no texting and riding.

At the intersection of 14th and Alameda, right before going under I-10, the light won’t turn green unless there is a car with me. Sometimes I drop my bike in the car lane and walk over to the northwest corner of the intersection to hit the walk button which sometimes will get the light to turn green. Usually I just have to wait for a car to join me from the Starbucks drive-through line which exits right there. It’s a busy intersection and impossible to run the red.


I head under I-10, where there’s a lot of makeshift houses, and everyone always nods and says hello as I ride through. Palette recycling is all done around here, so forklifts are zooming around, but otherwise not a lot of traffic. A few roosters live around here too, so it’s nice to get some wildlife in on my ride. For some reason a lot of palette recyclers own roosters and chickens; I've noticed them at the places around south central, too. It could be palettes and eggs are the Tom and Jerry of the shipping world. 

Turning up beside the railroad tracks before re-joining Olympic, there’s a couple that built this lounge area out of old palettes for everyone living along the tracks. There’s usually good music playing and a carousel horse is leaning against the fence.

Crossing the tracks can be really hard on my tires, and I usually stick to the sidewalk until Santa Fe, although the dirt and broken concrete can be hard to navigate after a rain. Of course, riding on Olympic can be terrifying if there’s a lot of trucks. There seems to always be a person along this stretch with mental issues, wanting someone to talk to. I’ve stopped before to get pulled into a pretty horrible story from a woman with these intensely blue eyes that for some reason made me think I was related to her. She told me her daughter was being raped under a nearby bridge, so I called the cops, only to be thrown through forwards and waits, until I was finally put through to a gruff officer who wanted me to give my opinion of her mental state, before they would send a car. I told him that I didn’t have the expertise to do such a thing and that I would wait with her until they sent someone. I gave an address and then sat on the side of Olympic with her and she slowly started talking about her life (and kids, none of who were under a bridge being raped) and then she thanked me for stopping to talk and wandered off.

I don’t stop anymore, but do try to say hello to everyone I pass.


Across Santa Fe I head over the Olympic Street bridge, past a trash/recycling center with huge backhoes tramping over debris and ripping apart garbage causing fine dust to enter the lungs of the city. They have hoses misting the air, but I usually put on a respirator for this section of the ride, since I notice my lungs getting irritated if I don’t. I feel like this section of the ride answers the question, “what does the inside of a battery taste like?” The curb to get up on the sidewalk of the bridge is probably over 10”, so I have to half get off my bike to get up on it, but go flying off the other end in glee. At this time of year, around 10:40am, the shadow of the railing on the south side of the bridge perfectly lines up with the seam of the concrete in the sidewalk. There’s a good fruit stand on the other side of the bridge and I use my momentum to carry me up the sidewalk past it and the Sears building to Soto.

The Sears building is beautiful and sad (https://en.wikipedia.org/wiki/Sears,_Roebuck_%26_Company_Mail_Order_Building_(Los_Angeles,_California)) It now remains mostly vacant with windows broken, the “S” no longer lighting up and pigeons calling it home. I went to meet the manager one day to ask if I could take photos of the sections of it closed since the 80s and he said he’d call me, but never did.

The intersection of Soto and Olympic is, again, concrete waves. I like to ride with my butt way over my back tire to make the jarring bumps not so hard on my arms. People at this intersection usually line up in the shadows of the utility poles during summer: people as sundials. The sun is baked hard into concrete, and there’s no buildings for shade.

I zigzag through the Shell station parking lot to the alley that goes behind Avo’s Auto, which is a good place to get tune ups and drop used motor oil. He put a radiator in my truck, Nemo, and afterwards handed me the national insurance plan that went with the part and said, “If anything goes wrong, call these Fuckers. Don’t let them give you any shit: they have to fix their parts no matter what state you are in. Just call these Fuckers, okay?” He texted me 2 weeks later to check in on me. 5 stars.

After the alley I take a quick right/left to get onto 11th. All these roads here have a middle strip of continuous concrete for the sewer drains, with all the concrete on the left and right of the strip pretty tragic. This means it’s best to ride down the middle of the road here, but since these are more alleys than roads, it usually works out.

Back towards 11th and Soto is Deseret Industries, which is sort of like a Value Village. Downstairs is the home department, where they put out new goods on the hour. People crowd around the industrial swinging doors and when staff role out the huge rolling carts filled with new arrivals, the carts are picked clean of the good stuff before they’ve made it 10 ft into the space.


I was trying to find some folding chairs for my apartment and an employee who says he was from Portugal said he’d give me a call and keep any he found if I gave him my number.

“You ever go back home?”
“Not in many years.”

He texted a few days later saying he had 4 blue folding chairs. I showed up, bought them and he helped carry them to my truck, Nemo. At Nemo he hugged me for a long time, hot under the sun around noon, looking up at me afterwards, our two sweaty faces looking melted, smiled and walked off.


Turning down Evergreen, there’s a couple abandoned railroad tracks to cross slowly for my tires sake and it ends right on Pico with a metal scrap place that usually is putting on a show with a backhoe holding a balled up piece of chain link fence that it uses as a broom to sweep away broken parts of cars. Every morning a line of trucks wait to get weighted, filled to the brim with crushed cars, gas station pumps, and other metal refuse the city hasn’t quite digested.

Here Pico is all graffiti murals and emptiness.

No-hand rides are nice on a sunny quiet day before jumping into work.

tools for tools.

I’ve been playing around with Blender the last week or so as I try to find some ways to spend this time in isolation as more of a residency: learn some new skills for the studio after this time of coronavirus. I’ve actually meant to learn a 3D modeling program for awhile, since I’m not a very good technical drawer and when pitching ideas for new spaces it helps to show stakeholders mockups that actually relate to the thing that will get made.

Makes sense, right?

I had played around with Cinema4D for a bit, but the price and then subsequent inability to find good torrents of it made me move on to something open source. Enter Blender! It’s been a bit of a learning curve, but things are stating to make sense. After 2 days I’ve almost modeled a clamp! Look at me go!

BUT the more interesting thing that using Blender has made me think about is what a tool is. I’ve always thought about a tool as the thing that allows me to pursue an idea. But ideas are not as concrete I usually think they are. In fact, just talking about them hardens them into something that is no longer what I originally thought of. Language itself, when applied to the first glimpse of an idea when it is still in a pre-language state — when it is in a cloud of feeling like something out of the Poetics of Space — is a tool that automatically shapes the idea. It’s like the idea is an amorphous jello and things like language are the forms that the jello sets up in.

I just watched Gladiator the other day (other day = within last year), which probably pegs me as a bit of a bro, but there’s a scene where Marcus Aurelius (he wrote Meditations! It didn’t occur to me until this viewing that it’s THAT Marcus Aurelius talking to the Aussie) is telling Russel Crowe about Rome and that one couldn’t do more than whisper the idea of what it is for fear it would disappear.

I think he was talking more about the fragility of what makes up powerful ideas, but this is also jumping into my head right now as him talking about the perfection of an idea being somewhat tarnished by the application of a verbal description (or written one). In some ways the poem and writing in general (or song and spoken word) are ideas working on the tool, language. Ideas are the tools for tools. And tools in turn are a tool for ideas. They sort of swap positions in who is leading the dance on the creation of something that has truly new properties.

In the upheaval that coronavirus has created, the rifts, inequality, and unsustainable nature of our current social-economic systems have been laid incredibly bare. Given this stark perspective, I’ve heard a lot of people talk about us needing to get back to some basic part of who we are. I don’t think there is some basic part of ourselves that exists. I’m coming from an object oriented ontology perspective here (grab Hyperobjects sometime if you haven’t read it), where I think talking about things like the environment and the need to get back to a place we once were is absurd: the world that exists now is an entangled complex object that can not be rewound: Russian nesting dolls entangled with a cascading tree of Russian nesting dolls. Talking of these past utopias is a way for people to stall in the present in inaction while debating exactly what the past was that we are all trying to get back to.

The culture around us has been shown to have toxic parts. We have pushed hard in directions we have suspected are harmful to our being in the long term, directions that are now in this crisis being shown to harm in the short term as well. But this bubble of the current moment we have created is a boundary to examine ourselves again. It provides an opportunity. We did the same thing in “simpler times” although they probably didn’t feel very simple then. Culture is a tool to shape values of self and community. It’s maybe time to switch the lead in the idea/tool dance. We now have the opportunity to shape culture in a way that reflects who we want to be in the future.

The idea, culture, is the tool shaping the tool of the individual.