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Another palace built with oil money. Long after Mukesh has fled his rooftop by helicopter and the hordes from Mumbai’s slums have gutted Antilia of every last salvageable scrap, her remains will provoke wonder at the depth of our greed.

Above is a construction photo I think makes the building look abandoned. Considering it’s been built to survive an 8.0 earthquake, Mammon's new temple could be standing for centuries.

California Valley was on the waypoints list for Stage Three Overture but had to be cut because reaching its remote location on the Carrizo Plain was beyond our means. Here’s an LA Times article on California City, a town in the Mojave with a similar story (and name). Dark tourists come a hundred at a time to gawk and snap photos. They’re led by writers/thinkers framing the miles of crumbling roads as a uniquely American ruin: “…a ghostly monument to overreach that, from above, looks like a geoglyph left by space aliens.”

An adventure born of the industrial age. A crew of seaworthy roughnecks try and save a 650-foot long ship and its cargo: 4,703 Mazdas bound for the US. At a 60-degree list, this massive object became a treacherous landscape with freezing jets of liquid carbon dioxide, slick metallic cliff faces, and the threat of being buried in an avalanche of automobiles.

Photographer Mitch Epstein’s multi-year photo essay on energy production and consumption in the US. Epstein knows understand energy is a key to understanding, “the relationship between American society and the American landscape.” There are some exceptionally beautiful images in the set—take your time.

Some incredible images of this massive object's final moments above water.

And a related Archdruid post: The Costs of Complexity. Finally, Dmitry Orlov compares the disaster to Chernobyl.

Shay Emmons is walking across the country with almost no money and writing eloquently about the adventure. Our paths crossed at a cafe in Tucson.

Cynthia Hopper’s recent work follows the courses of several highly managed industrial waterways. An exhibition featuring seven of her films opens January 22 at CLUI.

Some of the best artists have defected from other disciplines. Miru Kim was going to be a doctor before she started photographing herself naked in abandoned factories and tunnels. Here’s her TED talk.

Couple of related collapse links. A radio interview with Dmitry Orlov and a peak oil update from The Guardian. Both mention a “fall-off in the current levels of investment in the [oil production] sector.” Orlov explains why the oil companies don’t seem invested in reaching the IEA’s predicted 105m barrels per day mark by 2030.

Aqualta. Studio Lindfors, a New York based architecture and interior design firm, has constructed these images depicting their city transformed by a dramatic rise in sea level. Note the airships.

Related: Orlov’s two-parter on sea level rise:
The Ocean’s are Coming Part I & Part II

After the Wall: Traces of the Soviet Empire. Eric Lusito’s images of abandoned Soviet military installations.

Edward Burtynsky photographs, “both the epicentres of industrial endeavour and the dumping grounds of its waste.”
Manufactured Landscapes, a beautifully shot documentary by Jennifer Baichwal, chronicles the artist’s work in rapidly industrializing China.

CLUI's latest exhibit: Urban Crude: The Oil Fields of the Los Angeles Basin.

Manhattan’s Highline photographed by Joel Sternfeld

One of New York’s few remaining feral spaces has finally been purified and absorbed into the regulated urban fabric; reincarnated as a park. “Weeds” have been replaced with preferred species neatly contained in beds, sending a clear message to creatures and plants that might attempt to play an active role in the making of an environment: “hey thanks nature, but we’ll take it from here.”

Wind powered factories: history (and future) of industrial windmills

Greer reminds us that: “Windmills with a net energy of 5- or 6-to-1 are hopelessly inadequate to power an industrial society, but deindustrial societies with grain to grind, water to pump, and many other uses for mechanical energy will find them just as economically viable as did the agrarian societies of the past.”

Tim Edensor’s book Industrial Ruins: Space, Aesthetics and Materiality (2005) presents a reading of the contemporary ruin that reinforces many of my convictions regarding the value of such places. Here’s his website.