We also hear more about underwater acoustics, and how the sonic signatures of marine creatures are chaning with the the changing climate. Not all memories are pleasant, and we hear more about the fears that being in water, or in deep spaces, can invoke, and what it takes to let go. In this episode we go deeper into what fascinates them about water - the flow of tides properties like its solvency its creative force acoustic camouflage that can soothe us and the thrill of bioluminescence. The politics of kinship can be complicated, but how would we approach our bodies of water if they were kin? We continue to explore relationality when it comes to water, and learn more from three women who have made water, and bodies of water, their life's work. Follow us on social or at for episode details and show notes. To learn more about his remarkable work, visit The Subverse is the podcast of Dark ‘n’ Light, a digital space that chronicles the times we live in and reimagining futures with a focus on science, nature, social justice and culture. In 2020, he received the ASLA Honour award and the J.B Jackson Book Prize for his work. His most recent book (and the subject of our conversation), The Invention of Rivers: Alexander’s Eye and Ganga’s Descent, was published by University of Pennsylvania Press in 2019. He has authored several books, such as Mississippi Floods: Designing a Shifting Landscape (2001), co-authored with Anuradha Mathur. He writes, “those educated with the map, inhabit a surface articulated with rivers, and their extension in pipes and drains.” All this calls for a new imagination, driven by the celebratory event of rain - a re-heralding - and gradual steps, including learning from indigenous and other communities who have extended and nurtured ways of living with wetness.ĭilip da Cunha is based in Philadelphia and Bangalore. He writes that “water is the first principle in the nature of moist things.” The city reinforces the line which separates water from land on the earth’s surface and it has become the quintessential settlement while reducing other modes of habitation to less settled or unsettled, creating hierarchies. Da Cunha invites us to acknowledge wetness all around us, not contained in a place, and embrace living between the clouds and aquifers. Rain is no longer seen as feeding wetness but contained in gutters. Alexander’s eye represents the cartographer and surveyor, and Ganga’s descent is rain, colonised by river. This led to the invention of rivers and source, course, and flood, leading us to see a river that flowed between two lines and flooded. Our chat was a wide-ranging one, starting with the premise in many of his works: the line which separates land from water, which he terms “as one of the most fundamental and enduring acts in the understanding and design of human habitation.” He calls this the first colonialism, which took a wetness that is everywhere and turned it into a land and water binary. The organisation is dedicated to imaging and imagining habitation in ubiquitous wetness rather than on a land-water surface. In 2017, Anuradha Mathur and Dilip Da Cunha founded a design platform called Ocean of Wetness. He is an Adjunct Professor at the Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP) and the recipient of a 2020 Guggenheim Fellowship. Susan Mathews speaks with architect and planner Dilip Da Cunha.
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