Conshelf or the Precontinent Project

Continental Shelf Station was an attempt at creating an environment in which people could live and work on the sea floor. Precontinent has been used to describe the set of projects to build an underwater “village” carried out by Jacques-Yves Cousteau and his team in the Mediterranean and the Red Sea between 1961 and 1963. The projects were named Precontinent I, Precontinent II and Precontinent III. Particularly Precontinent II off the Sudanese coast received wide public recognition and was documented in a movie with the somewhat sensationalist yet eerie title “World without sun“. For a good overview of the project see: https://www.closed-worlds.com/conshelf-ii-iii or https://www.messynessychic.com/2013/05/27/remains-of-an-underwater-habitat-left-by-1960s-sea-dwellers

thanks to Lajos Talamonti for the lead!

Underwater City 1969

The british movie “Captain Nemo and the underwater city” by James Hill picks up the themes and main character Captain Nemo from Jules Verne’s famous novel and the sucessfull 1954 Disney movie on the same material. While the earlier US-movie develops further the theme of the Atomic Age and it’s promises and dangers, the 1969 movie focuses on the idea of alternative, egalitarian communities and the then popular dome structures (gedesic dome) in architecture, the Montreal Biosphere built by Buckminster Fuller in 1967 being maybe the most influential and notable expample.

The underwater city in the 1969 movie
The Montreal Biosphere

Each movie thus reflects the topics of it’s time. While the 1954 version is stylistically much closer to a Fin de Siecle, 19. Century aesthetic, the 1969 movie is all 60’s glitz and extravaganza. Furthermore, in the 1969 movie life under water seems like a perfectly sane and technically achievable project, while in 1954 Captain Nemo still clings on to life on land.

This is a fundamental not only technical but also political shift: The idea of leaving the known world behind, going up in space or down into the sea or exiling yourself in an alternative community is now fully developed. The Apollo Program that brought humans into space ran from 1968 to 1972. And in 1963 Jacques Cousteau constructed an underwater station where he stayed with a team of scientists for 30 days. The civilized world had thus become one of several options.

While the screen shot above shows a view of a complete city, it remains the only moment in the movie when the underwater city is actually seen. The action almost exclusively takes place in the rooms of Captain Nemo and in a swimming pool leisure area that looks more like it was directly taken from Blake Edward’s Hollywood satire “The Party” from one year earlier than like anything resembling a city. No houses, no streets, no stores or any other features of an urban environment are depicted.

It seems that the city as a theme and topography of movies did not play a big role in the 1960’s, quite to the opposite of the era of pre-war cinema. (Take for example “Metropolis” from 1927 about another model city run by a benevolent autocrat. See my post here) . The same mixture of artificial wilderness, tropical allure and wild west or pirate movie elements, all covered by a huge dome, can also be found in today’s indoor water parks like Tropical Island near Berlin:

A covenant to keep the forces of chaos at bay

The book of Jeremiah in the Hebrew Testament discusses at large an ecological crisis around 600 BCE in the so called “Fertile Crescent” (a region encompassing today’s southern Iraq, Syria, Lebanon, Jordan, Palestine, Israel, Egypt, and parts of Turkey and Iran). According to Michael S. Northcott in his book “A moral Climate” the crisis was brought about by agricultural over-exploitation of the land. The book of Jeremiah can thus be regarded as another climate narrative. The peoples of the Fertile Crescent were river peoples, their culture thrived on the waters of three rivers: Euphrat, Tigris and Nile. The ocean on the other hand was “seen as the primeval source of chaos, and this perhaps presents a cultural memory of prehistory in which the oceans had covered far more of the land than they have since the end of the last ice age,” writes Northcott. “For Jeremiah, the covenant that Yahweh made with the Israelites after their release from slavery in Egypt was therefore a cosmic covenant in which human work on creation ought to recognise the sustaining creative powers of the Lord of the earth in keeping the forces of chaos at bay:

Do you not fear me? says the Lord;
Do you not tremble before me?
I placed the sand as a boundary before the sea,
a perpetual barrier which it can not pass;
though the waves toss, they can not prevail,
though they roar, they can not pass over it.
[Jeremiah 5:22]”

In this passage from the ancient text, the sand on the beach is seen as the creative invention of the deity to keep the ocean where it belongs and the land with it’s human habitats where it belongs. It’s part of a greater deal, so to speak. In 600 BCE the ocean did not rise over the beach. In the present however, humans have not only begun to destroy beaches worldwide by extracitivist exploitation, the seas also rise. How do we then read the current situation from a Jewish, Old Testament perspective?

The intertidal zone: New York 2140

What happens to cities when they become half or seasonally flooded? Kim Stanley Robinson draws a picture of an intertidal New York of the future, where New Yorkers still live in high rises and move across the city on boats and bridges. But there is also a jurisdical aspect to the intertidal zone. Here is one of many sections of his book New York 2140 that discuss the politics and philosophy of living in an intertidal zone:

That said, the intertidal zone was turning out to be harder to deal with than the completely submerged zone, counterintuitive though that might seem to people from Denver, who might presume that the deeper you are drowned the deader you are. Not so. The intertidal, being neither fish nor fowl, alternating twice a day from wet to dry, created health and safety problems that were very often disastrous, even lethal. Worse yet, there were legal issues.

Well-established law, going back to Roman law, to the Justinian Code in fact, turned out to be weirdly clear on the status of the intertidal. It’s crazy to read, like Roman futurology:

The things which are naturally everybody’s are: air, flowing water, the sea, and the sea-shore. So nobody can be stopped from going on to the sea-shore. The sea-shore extends as far as the highest winter tide. The law of all peoples gives the public a right to use the sea-shore, and the sea itself. Anyone is free to put up a hut there to shelter himself. The right view is that ownership of these shores is vested in no one at all. Their legal position is the same as that of the sea and the land or sand under the sea.

Most of Europe and the Americas still followed Roman law in this regard, and some early decisions in the wake of the First Pulse had ruled that the new intertidal zone was now public land. And by public they meant not government land exactly, but land belonging to “the unorganized public,” whatever that meant. As if the public is ever organized, but whatever, redundant or not, the intertidal was ruled to be owned (or un-owned) by the unorganized public. Lawyers immediately set to arguing about that, charging by the hour of course, and this vestige of Roman law in the modern world had ever since been mangling the affairs of everyone interested in working in—by which I mean investing in—the intertidal. Who owns it? No one! Or everyone! It was neither private property nor government property, and therefore, some legal theorists ventured, it was perhaps some kind of return of the commons. About which Roman law also had a lot to say, adding greatly to the hourly burden of legal opinionizing. But ultimately the commons was historically a matter of common law, as seemed appropriate, meaning mainly practice and habit, and that made it very ambiguous legally, so that the analogy of the intertidal to a commons was of little help to anyone interested in clarity, in particular financial clarity.

You can read the full book here.

Thomas Cole: The Course of Empire (1833)

English-American painter Thomas Cole (1801 – 1848) created a series of five images depicting the rise and the destruction of an imaginary coastal city. The series is entitled “The Course of Empire”. Above, the fourth painting depicts the catastrophe and destruction of the city. Cole imagined here a junction of various man made and natural disasters: Insurgence, war, fires, storms and a flood.

In the final, fifth image the scene is set several decades after the destruction. Here nature has reclaimed the urban landscape and there is a peaceful, maybe even idyllic calm to the scene. From today’s point of view, this seems like an environmentalist comment on our current debates.

Neromanna – A film about a sunken community

Athens based artist collective Latent Community produced this wonderful film about the story of Kallio in Fokida, Greece, a village that was expropriated in 1969 and was covered in 1981 by the waters of the artificial lake created by the Mornos Dam for use as a reservoir for the city of Athens. The lake has been the main source of water for the Greek capital ever since. The community got dispersed, many of the people of Kallio now living in Athens themselves.

I was lucky to meet Latent Community in their studio in Athens and discuss the impact of flooding on the collective psyche of a community and the political implications of Athens incessant thirst for fresh water.

The case of Atafona

Atafona is a Brazilian town of 6,000 people, 200 miles up the coast from the famed beaches of Rio’s Copacabana and Ipanema.

“The sea devoured [Atafona’s] historic lighthouse, bars, nightclubs, markets, a four-story hotel, a gas station for boats, a school, sumptuous summer mansions, two churches, and an island where 300 hundred fisher families lived. The Ilha da Convivência (Island of Coexistence), as it was known, was 650 feet from shore. Nenéu was born there in 1974, when islanders, fearing an ocean already on the rise, began moving from Convivência to the continent. Today, the only thing left is a narrow land strip with sad ruins. In all, researchers estimate that the erosion has created over 2,000 environmental refugees here since about 1960.”

“There is in Atafona, especially among the old residents, a mixture of mysticism, religion, and science. For them, the ocean is a living being, and the coastal erosion a punishment for errors committed by man, such as having built the old church on the shore with its back facing the ocean,” says civil engineer Gilberto Pessanha Ribeiro, coordinator of the Coastal Dynamics Observatory at the Federal University of São Paulo, which has been researching Atafona for 18 years.”

“The fisherman Nenéu spent $3,000 on the rocks that he hopes will save his house, though he knows that the solution is ephemeral.  “The sea isn’t wrong; it wants what belongs to him back,” says Nenéu. “It will swallow everything, but I’ll resist.”

source: National Geographic

The Ocean people fight back

My favorite idea from the DC Aquaman movie (2018) is merely a small detail. When the Aquarians start to fight back against us, the people above sea level, one of their first maneuvers is throwing the human garbage back on land. That includes of course submarines. Here are two images from the news-flash-section of the movie:

Alexander’s submarine dive

The Alexander Romance is an account of the life and exploits of Alexander the Great. Although constructed around a historical core, the romance is largely fictional. It was widely copied and translated, accruing various legends and fantastical elements at different stages. The original version was composed in Ancient Greek some time before 338 CE, when a Latin translation was made, although the exact date is unknown. (from Wikipedia)

One of those tales is about a deep sea dive Alexander undertook:
” In the Problemata, a text contentiously credited to Aristotle, the philosopher tells how his student Alexander the Great descends to the depths of the sea in “a very fine barrel made entirely of white glass”, as a later poet would put it. The reasons for this descent differ across time. For some, it was to scout submarine defenses surrounding the city of Tyre during its siege. Others depict the Macedonian king met with a cruel vision of the great chain of being, stating, upon resurfacing, that “the world is damned and lost. The large and powerful fish devour the small fry”. 

In one particularly elaborate version, Alexander submerges with companions — a dog, cat, and cock — entrusting his life to a mistress who holds the cord used to retrieve the bathysphere. However, during his dive, she is seduced by a lover and persuaded to elope, dropping the chains that anchor Alexander and his animal companions to their boat. Through a gruesome utility, the pets help him survive: the cock keeps track of time in the lightless fathoms, the cat serves as a rebreather to purify the vessel’s atmosphere, and the poor hound’s body becomes a kind of airbag, propelling Alexander back to the sea’s surface.” (from Public Domain Review)

Miniature from a manuscript of Rudolf von Ems’ Weltchronik in Versen (World Chronicle in Verse), ca. 1370

When the story was told to me by Tobias Bulang, he explained that to medieval believe, the ocean does not keep dead bodies inside. Thus Alexander’s diving bell would rise back to the surface because the ocean emited the animal’s corpse. The fact that drowned corpses tend to float on the surface of the water instead of sinking to the ground gives plausible cause for this believe. Still I would be interested to understand, what people then believed to be the cause for this.

The image of Alexandre the Great below the sea became quite popular in the visual arts of the 14. and the following centuries. You can see many more creative and vivid illustrations here.

Thanks to Tobias Bulang for the lead.

Ghosts of the tsunami

In his beautifully written account of the 2011 tsunami in Tohoku, northern Japan, and it’s aftermath, Richard L. Parry also describes the role of the cult of ancestory in grievance for those who died in the tsunami. Vacant home addresses for example play a recurring role in how people were dealing with grief and loss. Perry’s account gives an example of societies using old customs and believe systems in sometimes unexpected ways to help them deal with current loss.

The following excpert is from pages 99 – 102 of the 2017 edition of “Ghosts of the Tsunami” by R.L. Parry:

“Haltingly, apologetically, then with increasing fluency, the survivors spoke of the terror of the wave, the pain of bereavement and their fears for the future. They also talked about encounters with the supernatural.


They described sightings of ghostly strangers, friends and neighbours, and dead loved ones. They reported hauntings at home, at work, in offices and public places, on the beaches and in the ruined towns. The experiences ranged from eerie dreams and feelings of vague unease to cases of outright possession.

A young man complained of pressure on his chest at night, as if some creature was straddling him as he slept. A teenage girl spoke of a fearful figure who squatted in her house. A middle-aged man hated to go out in the rain, because of the eyes of the dead, which stared out at him from puddles.

A civil servant in Soma visited a devastated stretch of coast and saw a solitary woman in a scarlet dress far from the nearest road or house, with no means of transport in sight. When he looked for her again, she had disappeared.

A fire station in Tagajo received calls to places where all the houses had been destroyed by the tsunami. The crews went out to the ruins anyway, prayed for the spirits of those who had died— and the ghostly calls ceased.

A taxi in the city of Sendai picked up a sad-faced man who asked to be taken to an address that no long existed. Halfway through the journey, the driver looked into his mirror to see that the rear seat was empty. He drove on anyway, stopped in front of the levelled foundations of a destroyed house and politely opened the door to allow the invisible passenger out at his former home.

At a refugee community in Onagawa, an old neighbour would appear in the living rooms of the temporary houses and sit down for a cup of tea with their startled occupants. No one had the heart to tell her that she was dead; the cushion on which she had sat was wet with seawater.

Such stories came from all over the devastated area. Priests — Christian and Shinto, as well as Buddhist – found themselves called on repeatedly to quell unhappy spirits. A Buddhist monk wrote an article in a learned journal about ‘the ghost problem’, and academics at Tohoku University began to catalogue the stories. In Kyoto, the matter was debated at a scholarly symposium.

“Religious people all argue about whether these are really the spirits of the dead,’ [priest] Kaneta told me. ‘I don’t get into it, because what matters is that people are seeing them, and in these circumstances, after this disaster, it is perfectly natural. So many died, and all at once. At home, at work, at school – the wave came in and they were gone. The dead had no time to prepare themselves. The people left behind had no time to say goodbye. Those who lost their families, and those who died – they have strong feelings of attachment. The dead are attached to the living, and those who have lost them are attached to the dead. It’s inevitable that there are ghosts.’

He said: ‘So many people are having these experiences. It’s impossible to identify who and where they all are. But there are countless such people, and their number is going to increase. And all we do is treat the symptoms.’

When opinion polls put the question ‘How religious are you?’, Japanese rank among the most ungodly people in the world. It took a catastrophe for me to understand how misleading this selfassessment is. It is true that the organised religions, Buddhism and Shinto, have little influence on private or national life, But over the centuries both have been pressed into the service of the true faith of Japan: the cult of the ancestors.

I knew about the household altars, or butsudan, which are still seen in most homes and on which the memorial tablets of dead ancestors — the ihai — are displayed. The butsudan are cabinets of lacquer and gilt, with openwork carvings of flowers and trees; the ihai are upright tablets of black lacquered wood, vertically inscribed in gold. Offerings of flowers, incense, food, fruit and drinks are placed before them; at the summer Festival of the Dead, families light lanterns to welcome home the ancestral spirits. I had taken these picturesque practices to be matters of symbolism and custom, attended to in the same way that people in the West will participate in a Christian funeral without any literal belief in the words of the service. But in Japan spiritual beliefs are regarded less as expressions of faith than as simple common sense, so lightly and casually worn that it is easy to miss them altogether. ‘The dead are not as dead there as they are in our own society,’ wrote the religious scholar Herman Ooms. “It has always made perfect sense in Japan as far back as history goes to treat the dead as more alive than we do… even to the extent that death becomes a variant, not a negation of life.’

At the heart of ancestor worship is a contract. The food, drink, prayers and rituals offered by their descendants gratify the dead, who in turn bestow good fortune on the living. Families vary in how seriously they take these ceremonies, but even for the unobservant, the dead play a continuing part in domestic life. For much of the time, their status is something like that of beloved, deaf and slightly batty old folk who cannot expect to be at the centre of the family, but who are made to feel included on important occasions. Young people who have passed important entrance examinations, got a job or made a good marriage kneel before the butsudan to report their success. Victory or defeat in an important legal case, for example, is shared with the ancestors in the same way.

When grief is raw, the presence of the deceased is overwhelming. In households that had lost children in the tsunami, it became routine, after half an hour of tea and chat, to be asked if I would like to ‘meet’ the dead sons and daughters. I would be led to a shrine covered with framed photographs, with toys, favourite drinks and snacks, letters, drawings and school exercise books.

One mother commissioned carefully photoshopped portraits of her children, showing them as they would have been had they lived – a boy who died in primary school smiling proudly in high-school uniform, an eighteen-year-old girl as she should have looked in kimono at her coming-of-age ceremony. Another decked the altar with make-up and acrylic fingernails that her daughter would have worn if she had lived to become a teenager. Here, every morning, they began the day by talking to their dead children, weeping love and apology, as unselfconsciously as if they were speaking over a long-distance telephone line.”