The Svalbard Global Seed Vault is "supposed to last for eternity", yet didn't take the effects of climate change into consideration in its design and construction. One might wonder which "unknown unknowns" it's not quite ready for either.
As odd as it sounds, I can't help but think that it's so ridiculously easy to point fingers at the short-sightedness of the Svalbard Global Seed Vault that not only is it also all-too-easy to label it as the "Vault of Doom", but that this can lead one to miss out on the much more dire issue of what the Vault represents in the present.
If we look at the Vault's layout, it turns out that the access tunnel from its main door was designed and built to slope downwards, a rather questionable idea when you think about the effects that gravity tends to have on permafrost and snow when they get above 0℃. Why in the world was the Svalbard Global Seed Vault designed in such a way? As put by Hege Njaa Aschim of the Norwegian government (owner of the Vault),
The construction was planned like that because it was practical as a way to go inside...
In other words, the vault was designed with depositing seeds in mind, not withdrawing them. I'm venturing into the land of absurdity again, because if you know anything about seed saving then you know that it is in fact extremely beneficial to keep seeds stored in complete darkness, although it's also just as true that black holes can be a tad too dark.
The sheer sensationalism of doom-laden Internet headlines doled out by journalists raised on Hollywood disaster movies (and now clickbait) recently reared their ugly head again, this time in regards to the venerated Svalbard Global Seed Vault. I'm no fan of what some have misleadingly nicknamed the "Doomsday Seed Vault", but with journalists narrowly clamouring on about some recent hiccoughs that the Vault experienced does the greater catastrophe that the Vault represents get obfuscated. Those recent hiccoughs are certainly nothing to scoff at (as I'll explain), but by missing out on the greater implications they imply does the fundamental problems of the Svalbard Global Seed Vault get missed, those being that not only is the Vault not a "Doomsday Seed Vault" but, and as I'll explain in part 2, that it transforms seed saving into something akin to the art of taxidermy.
It's comfortably accepted by many that what we in the first-world countries currently live in is a post-industrial era, an era in which a transition has been made from manufacturing-based economies to service sector-based economies. But to put truth to the lie, "post-industrialism" is polite speak for "a gutted manufacturing sector whose jobs were offshored to countries where wages were lower, enacted so that deep pockets could be deepened and so that those whose employment existed in higher echelons than the offshored could gain access to cheaper products." *
But if you giddily follow along with the rags and raggees extolling the idea of "post-industrialism" then you couldn't be blamed for then thinking that what we've now entered is no less than the post-energy era. Because according to the article "The World's Most Valuable Resource is No Longer Oil, But Data" via none other than The Economist, "data [is] the oil of the digital era". And not just any data, but Big Data.
But before I get to the book, it's worth reiterating from said previous post the notion that just as the coal lobbies, nuclear lobbies, and all the other "dirty" fuel lobbies are wont to exaggerate and obfuscate the specifics of their energy resources, so too are lobbyists for the large-scale application of "renewable" energy sources more than willing to exaggerate, obfuscate, and even fudge the facts when it comes to conveying the benefits and advantages of their energy resources. And as I also pointed out, the latter is just as often the work of PR agencies and other marketeers, the goal effectively being anything but conveying a clear understanding of our current energy situation. Friedemann perfectly explains why this is (italics mine):
In business, ...analysis is essential to prevent bankruptcy. Yet when scientists find oil, coal, and natural gas production likely to peak within decades, rather than centuries, or that ethanol, solar photovoltaic, tar sands, oil shale, and other alternative energy resources have a low or even negative energy return on the energy invested, they are ignored and called pessimists, no matter how solid their findings. For every one of their peer-reviewed papers, there are thousands of positive press releases with breakthroughs that never pan out, and economists promising perpetual growth and energy independence. Optimism is more important than facts. And, it's essential for attracting investors.
Follow the headlines and you can hardly be blamed for thinking that we're on the cusp of a monumental renaissance, one that'll usher us into a renewable energy paradise and allow us to maintain our profligate first-world standard of living for... well, forever!
My favourite recent headline indicative of this supposed renaissance came via the website Ecowatch (by no means a lowly-ranked website), which proclaimed in one of its article's titles that "California Generates Enough Solar Power to Meet Half its Energy Needs".
Well kinda half – "haaaalf." For as the article's second paragraph states,
Recent data shows California coming through. The state briefly generated enough solar power to meet nearly half of the state's electricity needs, according to data from the largest grid operator in the state, California ISO.
Let's break down this paragraph and the title of the article from which it came from:
As I stated in part 2, I'm all but certain that I discovered Taraf de Haïdouks by stealing their music in a shot-in-the-dark gesture on Hotline, something that led me to discovering Fanfare Ciocărlia in a rather roundabout way more than a decade later. For undescribed reasons I also questioned in part 2 whether I had aptly stolen Taraf de Haïdouks' music, which I'll now try and explain.
As recently stated by Costică “Cimai” Trifan, one of Fanfare Ciocărlia's four trumpet players and two lead vocalists, "we have a saying in Gypsy language: 'A good musician is stealing everywhere whatever is possible.'" If I understand this correctly, a good musician is someone who soaks up the array of different sounds they come across, eventually adapting and integrating those sounds into their repertoire. If I'm also not mistaken, there's probably no other musicians that have done this more effectively over the years than travelling Gypsies.
Somewhat similarly, it's been pointed out to me while writing this series that the practice of copyrighting music is a rather recent one, and that in times previous to when even sheet music was around the traditional way in which musicians made their money – i.e. living – was via giving performances. It was then suggested to me that since copyrighting music stems the traditional free flow of music ("stealing" music) and since by these traditional standards charging over and over again for the performance of a particular piece of recorded music is absurd, ripping music off of YouTube is therefore justified. Can the aforementioned Gypsy saying be interpreted to justify this theft of recorded music? As far as I can see it, absolutely not.
As put by Ioan Ivancea, the late patriarch of the Romanian Gypsy brass band Fanfare Ciocărlia,
Our ancestors were serfs for the local Boyar from Dagița [a neighbouring village] and were living on the steeps of the surrounding mountains. This was such a harsh experience, people struggled to carry water and firewood to the camp, so one day the tribe elder approached the Boyar and asked for a space in the valley. The Boyar was a good man and gifted them ten fields in the valley to live. Zece Prajini's name translates as Ten Fields. Since then all the families have farmed and played music. And always will.
Unless the young generation of Gypsies turn to shit... The new music, it's bullshit.
Back before I'd discovered Fanfare Ciocărlia and was (almost contently) listening to nothing but Taraf de Haïdouks, Kočani Orkestar, and their Band of Gypsies combo act, I spent some time doing a bit of research on them all (if bouncing around the Internet counts as research) and came across a Romanian event called the Balkanik Festival which the Band of Gypsies was headlining the following month. As the festival's website stated, "Both bands will join their instruments and forces in a never-before-heard repertoire". I took that to mean an upcoming Band of Gypsies 3 album and tour, and although I was rather intrigued about such a possibility there was of course no way I was going to fly all the way to Europe to catch a sneak peek (I'll catch them in Australia if they return here).
But on top of that it was also stated that the Band of Gypsies' new music was "meant to demolish all prejudice, walls between people, countries, ethnicities and continents." That I couldn't help but roll my eyes at a bit, what with it essentially being the musical equivalent of the rather flaky lament of "I understand it now – all we have to do is love one another!" As if that weren't enough, having discovered Fanfare Ciocărlia a few months later I was quite surprised to find out that the Band of Gypsies weren't the only band of Gypsies associated with bringing peace and harmony to the world.
When I finally made the first steps to end my abstention after more than ten years in the "musical wilderness" – where I of course overheard music on many occasions but didn't actually own any myself nor even so much as turn on a radio – there really wasn't any doubt as to which was the only group of musicians I'd heard in the past that I had any interest in listening to again: Taraf de Haïdouks. And in particular, their (2001) album Band of Gypsies.
The album isn't a play on Jimi Hendrix's ensemble but reflects the fact that Taraf de Haïdouks are in fact a bunch of Gypsies, from the Romanian village of Clejani. Consisting of several violins, accordions, cimbalom, double drum, upright bass, flute and clarinet, what made Band of Gypsies a bit different from Taraf de Haïdouks' other (excellent) albums was that three of the fourteen songs – three standout songs – had an additional brass accompaniment. As I belatedly found out upon re-listening to the album in 2016, this brass portion was not performed by Taraf de Haïdouks members but rather by a group of guest musicians, that being the Macedonian brass band Kočani Orkestar (from the town of Kočani), also a band of Gypsies and hence the album's title.
Abhorring the "music scene" and not quite willing to venture out from my "safe space", I spent three or so months in mid-2016 listening to nothing but that single album until I happened to find out that a Band of Gypsies 2 album had been released during my abstention (2011), one in which Kočani Orkestar play the album's entirety. I of course instantly snatched it up, and as I prefer the music I listen to to be rather overwhelming I wasn't disappointed.
After two months or so of then listening to nothing but Band of Gypsies 1 and 2 I was finally willing to venture out a bit further, and after finding three of Kočani Orkestar's albums to be rather good (and a few others, well, not so good), it was upon hearing their album Neat Veliov i Kočani Orkestar (Veliov being the lead trumpet player) that I was so blown away that I couldn't help but get the impression that all that American brass I'd heard over the years was little more than a confidence scheme (and that brass without a Turkish marching band percussion could never be adequate again). Getting the impression from the latter album that there was something rather extraordinary to this... Balkan Brass?... Gypsy Brass?... I finally decided to venture out even further to see if there was possibly something lurking out there waiting – needing – to be discovered. My search (yes, on YouTube) was more miss than hit, until, and therefore pretty much directly following my ten-plus years of musical abstinence, I somehow managed to go straight to hitting the mother lode.
So for a guy like me who's making somewhat of a return to the world of music but who's fully aware of the already underway protracted collapse of industrial civilization, it should be obvious that putting myself at the mercy of a streaming service might not be the best idea if I wanted to retain a bit of access to some recorded music once the ability for streaming disappears once and for all (which for whatever reason[s] I believe will certainly happen at some point in my lifetime). So supposing I'm connected to a community grid and/or have the solar panels or whatever it be to power some kind of setup, owning my music – be it on CD, vinyl, or MP3s – would most certainly be the way to go.
That being said, and without being excessive, I could always do both (supposing I even have the money for any of this) – sign up to a streaming service to discover new music, then purchase what I want to keep for the long term. As the record label CEO quoted in part 1 put it, this is exactly what many people today are doing:
It used to be music discovery was mainly limited to the radio, but now people are free to look and listen to all sorts of music, so people are hearing so much more new or different music than they were before. They are finding music through streaming and if they love it, they are going out and investing in it in a physical format.
According to those in the know it turns out that while Apple's streaming service has the larger catalogue, it's horrible when it comes to suggesting new music to you: "Enjoyed XYZ band? Well guess what, you might be interested in listening to The Beatles!" On the other hand, although Spotify apparently doesn't have as extensive of a catalogue as Apple does its algorithms are purportedly vastly superior when it comes to exposing customers to new sounds.
Nonetheless, none of that is enough to convince me to subscribe to a streaming service, and that's not because of any fears of impending doom overriding my thinking. No. Because having previously owned roughly 600 albums (okay, owned about 150 albums and stole another 450 or so), it's the very prospect of musical abundance itself that makes me shudder, horrified at the thought of being swamped and overwhelmed by the "infinite" catalogue of a streaming service. If anything I'd be more interested in imposing limits to music rather than testing the limits to my sanity.
Although the world economy hasn't been booming lately this hasn't meant that the booming has been reduced to economizing, what with the boom booms having gone through such a transformation in the past decade that "streaming" – playing music on a digital device without actually storing it – has pulled the music industry out of the piracy-induced doldrums that saw its sales plunge by more than 70% since its peak in 1999. As put by Cary Sherman, chairman and CEO of the RIAA, "I'm confident that music's future is bright. The popularity of music is greater than ever. Like never before, it drives our culture and commerce." However, while the music industry is busy championing its new-found success thanks to digital nirvana, it's not exactly surprising that what it doesn't notice is that the next decade is likely to see not its resurgence but rather its collapse. I'll back up a few decades to explain.
Like any (former) suburban-boy born in the late-70s in an affluent-enough family in an affluent-enough region of southern Ontario (which for years was North America's fastest growing area), a paper route and then a decent-enough part-time job were enough to get me the disposable income needed to adorn myself with a rather decent CD collection, probably 120 or so of the things by the time I got to university.
A much-more-than-decent summer job given to me on a silver platter was then enough to get me a shiny new Apple computer for video editing, the soon-to-be-released iTunes program eventually used to transfer all my CDs to MP3s. This all happened during the time that the pirating of music was starting to do a number on the music industry, beginning with "services" such as Napster, Gnutella and Kazaa. Being a "poor" university student I of course tried them all out a few times, but it was obvious that Napster-and-company's rinky-dinky method of having to search for and then download individual song by individual song wasn't going to cut it for me. I liked listening to entire albums, not the latest top-ten, which meant I ended up using Hotline.