Landscaping Drainage Quotes

Back then I took up flying with the sense of coming to something I had been meant to do all my life. Many people who fly feel this way and I think it has more to do with some kind of treetop or clifftop gene than with any sense of unbounded freedom or metaphors of the soaring spirit. The way the earth below resolves. The way the landscape falls into place around the drainages, the capillaries and arteries of falling water: mountain slopes bunched and wrinkled, wringing themselves into the furrows of couloir and creek , draw and chasm, the low places defining the spurs and ridges and foothills the way creases define the planes of a face, lower down the canyon cuts, and then the swales and valleys of the lowest slopes, the sinuous rivers and the dry beds where water used to run seeming to hold the hills the waves of the high plains all together and not the other way around… but what I loved the most from the first training flight was the neatness, the sense of everything in its place. The farms in their squared sections, the quartering county roads oriented to the cardinal compass points, the round bales and scattered cattle and horses as perfect in their patterns as sprays of stars and holding the same ruddy sun on their flanks…the immortal stillness of a landscape painting.

Between concentric pavement ripples glide errant echoes originating from beyond the Puddled Metropolis. Windowless blocks and pickle-shaped monuments demarcate the boundaries of patternistic cycles from those wilds kissed neither by starlight nor moonlight. Lethal underbrush of razor-like excrescence pierces at the skins of night, crawls with hyperactive sprouts and verminous vines that howl with contempt for the wicked fortunes of Marshland Organizers armed with scythes and hoes and flaming torches who have only succeeded in crafting their own folly where once stood something of glorious and generous integrity. There are familiar whispers under leaves perched upon by flapping moths. They implore the spirit again to heed the warnings of the vines and to not be swayed by the hubris of these organizing opportunists. One is to stop moving at frantic zigzags through gridlocked streets, stop climbing ladders altogether, stop relying on drainage pipes where floods should prevail, stop tapping one’s feet in waiting rooms expecting to be seen and examined and acknowledged. Rather, one is to eschew unseemly fabrications and conceal oneself beneath the surface of leaves—perhaps even inside the droplets of dew—one is, after all, to feel shameful of the form, of all forms, and seek instead to merge with whispers which do not shun or excoriate, for they are otherwise occupied in the act of designating meaning. Yet, what meaning stands beyond the rectitude of angles and symmetry, but rather in wilds among agitated insects and resplendent bogs and malicious spiders and rippling mosses pronouncing doom upon their surroundings? One is said to find only the same degree of opportunism, and nothing greatly edifying that could serve to extend beyond the banalities of self-preservation. But no, surely there is something more than this—there absolutely must be something more, and it is to be found! Forget what is said about ‘opportunism’—this is just a word and, thusly, a distraction. The key issue is that there are many such campaigns of contrivance mounted by the taxonomic self-interest of categories and frameworks ‘who’ only seek primacy and authority over their consumers. The ascription of ‘this’ may thusly be ascribed also with that of ‘this other’ and so it cannot be ‘that precisely’ because ‘this’ contradicts another ‘that other’ with which ‘this other’ surely claims affiliation. Certainly, in view of such limiting factors, there is a frustration that one is bound to feel that the answers available are constrained and formulaic and insufficient and that one is simply to accept the way of things as though they are defined by the highest of mathematics and do not beget anything higher. One is, thusly, to cease in one’s quest for unexplored possibility. The lines have been drawn, the contradictions defined and so one cannot expect to go very far with these mathematical rules and boundaries in place. There are ways out: one might assume the value of an imaginary unit and bounce out of any restrictive quadrant as with the errant echoes against the rippling pavement of this Puddled Metropolis. One will then experience something akin to a bounding and rebounding leap—iterative, but with all subleaps constituting a more sweeping trajectory—outward to other landscapes and null landscapes, inward through corridors and toward the centroid of circumcentric chamber clusters, into crevices and trenches between paradigms and over those mountain peaks of abstruse calculation.

Like all Roman roads, the Appian Way (Via Appia) was a marvel of both engineering and propaganda. Construction began on the roads by digging deeply into the soil to lay a foundation of rock, covering this in turn with gravel for drainage, and finally paving with virtually indestructible flagstones over which commerce rolled and armies marched. Unlike the earlier muddy tracks around much of the Mediterranean, Roman roads were meant to endure and rarely yielded to the vagaries of topography. Unless prevented by impassable mountains or impregnable swamps, the Romans built their roads straight as an arrow across the landscape. They were in fact a sermon in stone to the world—Romans do not yield.

A landscape is a memory surface. The contours of the surface offer an accumulated memory trace of the water that has fallen upon it. The rainfall forms little rivulets which combine into streams and then into rivers. Once the pattern of drainage has been formed then it tends to become ever more permanent since the rain is collected into the drainage channels and tends to make them deeper. It is the rainfall that is doing the sculpting and yet it is the response of the surface to the rainfall that is organizing how the rainfall will do its sculpting.

From Gary Snyder: I heard a Crow elder say: “You know, I think if people stay somewhere long enough-even white people- the spirits will begin to speak to them. It’s the power of the spirits coming up from the land.” Bioregional awareness teaches us in specific ways. It is not enough just to “love nature” or want to be “in harmony with Gaia.” Our relation to the natural world takes place in a place, and it must be grounded in information and experience. This is so unexceptional a kind of knowledge that everyone in Europe, Asia and Africa used to take for granted… Knowing a bit about the flora we could enjoy questions like: where do Alaska and Mexico meet? It would be somewhere on the north coast of California, where Canada Jay and Sitka Spruce lace together with manzanita and Blue Oak. But instead of northern California, let’s call it “Shasta Bioregion.” The present state of California (the old Alta California territory) falls into at least three natural divisions, and the northern third looks, as the Douglas Fir example, well to the north. East of the watershed divide to the west near Sacramento, is the Great Basin, north of Shasta is the Cascadia/Colombia region, and then farther north is what we call Ish River country, the drainages of Puget Sound. Why should we do this kind of visualization? It prepares us to begin to be at home in this landscape. There are tens of millions of people in North America who were physically born here but who are not actually living here intellectually, imaginatively, or morally. Native Americans to be sure have a prior claim to the term native. But as they love this land, they will welcome the conversion of the millions of immigrant psyches into “native americans.” For the non-Native Americans to become at home on this continent, he or she must be born again in this hemisphere, on this continent, properly called Turtle Island.

to be discovered during the initial excavation of Knossos was the so-called Throne Room. It was a modestly-sized room, but what was so special about it was the gypsum throne built into the north wall. The throne had a high back and was surrounded by stone benches on either side. Opposite the throne were steps down to a recessed area, most likely a type of bathtub or water tank. Sir Arthur Evans, who oversaw the initial excavation, believed it was used for ritual purification, although a lack of drainage calls that interpretation into question. Some modern scholars believe it may have been an aquarium, water storage container, or even a menstrual pit. The walls behind the throne were decorated with what is known as the Griffin Fresco. It depicted two recumbent—lying down—griffins facing the throne with one on either side of it. Griffins were considered important mythological creatures, and they were often depicted attending a deity. Behind the griffins was a landscape in

No such suspension of disbelief was needed on the morning of 13 September 1645. If I had been looking south from my house, I would have seen an awesome sight. During the civil war fought all over Britain and Ireland, the Scottish army led by General David Leslie surprised the Royalists and the Marquis of Montrose at Philiphaugh, west of Selkirk. In the early morning mist, he sent about 2,000 cavalry troopers through our little valley, perhaps keeping to the metalled surface of the old road leading to Oakwood Fort. They moved quietly around Howden Hill and, while Leslie led the rest of his army in a frontal assault, the cavalry attacked the rear of the Royalists and scattered them. Philiphaugh was a savage, sadistic rout with much unnecessary slaughter excused by fundamentalist piety. The greater part of the landscape of the valley was much altered after 1645. The fields, the thorn hedges, the shelterbelts of hardwoods, the steadings, the big houses and their policies are not old. After the middle of the 18th century, the pace of agricultural improvement quickened and shaped much of the countryside we see now and believe to be traditional. One of the most important catalysts was drainage and below where I sit in the evening stretches the 35-acre Tile Field. It is billiard-table flat because it was scraped for clay and at the western end stood a tile works. Its kilns were fired by the trees of the Hartwood and the clay puddled in a pond formed by the Common Burn and the Hartwoodburn.

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