- Hide menu

Heterogeneous Spectacles

Hewlett-Packard Building 15

Hewlett Packard ,Building 15, super plume, superfund, toxic palo alto, stanford research park

Hewlett Packard ,Building 15, super plume, superfund, toxic palo alto, stanford research park

Hewlett-Packard Building 15. From 1965 to 1973, they made small electronic transformers. Circuit boards from ’65 to ’87. The building blocks of the tech revolution, made right here.

Acids. Metals. Solvents. All part of the process. They stored the chemicals in a shed until ’73, then upgraded to a “bunker” from ’74 to ’87. Because calling it a bunker makes it sound safer, I guess.

The site, now re-addressed as 3181 Porter Drive, like a new number will make people forget, is part of the Hillview Porter regional plume. That’s the polite term. What it means is: the groundwater is fucked. The whole Stanford Research Park area. Poisoned.

The Department of Toxic Substances Control oversees it now. Ongoing operation and maintenance activities. Translation: they’re still pumping and treating groundwater contaminated with tetrachloroethylene, trichloroethylene, and their “associated daughter products.” Chlorinated volatile organic compounds. The kind of stuff that doesn’t go away on its own.

This is what innovation looks like from the ground up. Literally. The stuff they don’t put in the press releases.

Hewlett-Packard made transformers and circuit boards. The chemicals they used to make them are still there, decades later, seeping through the soil.

Progress has a price. Someone always pays it.

SOS Grocery (Disruption Town)

SOS Grocery, Palo Alto, Palo Alto photography, Leica, Jamie Lyons, Emerson, Disruption Town

En el amor nadie piensa en la conveniencia.
Isabel AllendeRipper

The now shuttered store operated until recently in Palo Alto since the 1920s.

Signed Limited Edition print of 10; stamped on verso. Professional black & white printing on Hahnemühle fibre-based Matt paper.

Palo Alto Tower Well

Thousands have lived without love,
not one without water.
W. H. Auden, First Things First, 1956

Seventy-eight feet of reinforced concrete. Corner of Alma and Hawthorne. Built in 1910.

Palo Alto, Water Tower, Disruption Town, Silicon Valley, Bay Area, photojournalism, history, photography, Jamie Lyons

A water tower. 155,000 gallons. It helped establish Palo Alto’s city-owned utility system, back when the city actually built things for the public good, imagine that. It did its job for seventy-seven years. Then in 1987, the water utility walked away.

1995: someone has an idea. Turn it into a six-story home. Why not? It’s there. It’s solid. It’s got history. Make something useful out of it.

Disruption Town says no.

So it stands there. Empty. A monument to nothing in particular. Can’t tear it down, can’t use it, can’t reimagine it.

Just a 78-foot concrete cylinder on a street corner, reminding everyone that Palo Alto has never met a creative solution it couldn’t reject.

Palo Alto Tower Well, 201 Alma St, Palo Alto, CA 94301.

Disruption Imminent

Amazon delivery robots on the streets of Palo Alto: disruption imminent…

Palo Alto, Silicon Valley, Disruption, Tech, Disruptors, artificial intelligence, AI, delivery, Amazon, Robots, Disruption Imminent
Everyone thinks of changing the world,
but no one thinks of changing himself.
Leo Tolstoy

Barber of Disruption Town

The Barber of Palo Alto… The Cardinal Barber Shop opened in Palo Alto’s Cardinal Hotel in 1925 and Gerardo Macareño has been cutting, shaving and trimming customers their since 1982.

The Barber ofPalo Alto, Babershop, Bay Area, disruption, disruptors, tech, history, photography, documentation, Palo Alto Barber, Cardinal Barber shop, Cardinal Hotel
How do?
Welcome to my shop
Let me cut your mop
Let me shave your crop
Daintily, daintily…Hey, you!
Don’t look so perplexed
Why must you be vexed?
Can’t you see you’re next?
Yes, you’re next, you’re so next!
Bugs Bunny, Rabbit of Seville (1950)

Peninsula Creamery

The Peninsula Creamery in Palo Alto

Peninsula Creamery, Palo Alto, Silicon Valley, Bay Area, photography, black and white, Jamie Lyons

This was the way the night had cashed in. Choices had been made and things happened, and here we were. It was sad, and funny. My life was made of this. Stuff like this.
James Franco, Palo Alto

Dominique Serrand Life is a Dream

The phone rings. Can’t tell you who. I’m sworn. But trust me, Google images knows things.

¿Qué es la vida? Un frenesí.
¿Qué es la vida? Una ilusión,
una sombra, una ficción,
y el mayor bien es pequeño;
que toda la vida es sueño,
y los sueños, sueños son.

What is life? A madness.
What is life? An illusion,
a shadow, a story.
And the greatest good is little enough:
for all life is a dream,
and dreams themselves are only dreams.
Pedro Calderón de la Barca, Life is a Dream, Act II, l. 1195.

This is theater department politics. Knife-fight in a phone booth, but with plastic spoons and a lot of crying.

They’ve already got their shooter, some three-hundred-dollar wedding hack who specializes in groomsmen doing synchronized jumping photos. The Olive Garden of photography.

But someone inside wants better.  So I smuggled cameras in as if they’re a flask at high-school prom.

Life is A Dream, Dominique Serrand, Stanford Arts, Stanford TAPS, Stanford theater and performance studies, Roble, iphone, Stanford photography, documentation

The irony kills me. This exact department. Same building. Twenty years ago, I’m in grad school here playing the goddamn king in Michael’s production. Four pages of Calderón memorized. Four. Pages. Baroque Spanish philosophy turned into blank verse that sounds like someone having an existential crisis in iambic pentameter.

Life is A Dream, Dominique Serrand, Stanford Arts, Stanford TAPS, Stanford theater and performance studies, Roble, iphone, Stanford photography, documentation

Back then, this department made theater. Did the work themselves. Now? They hire it out. Except their hired gun photographer shoots like he’s covering a bat mitzvah.

Life is A Dream, Dominique Serrand, Stanford Arts, Stanford TAPS, Stanford theater and performance studies, Roble, iphone, Stanford photography, documentation

I’m a ghost photographing ghosts. Segismundo trapped in his tower, questioning reality. Me, trapped in institutional pettiness, documenting shadows.

Life is A Dream, Dominique Serrand, Stanford Arts, Stanford TAPS, Stanford theater and performance studies, Roble, iphone, Stanford photography, documentation

¿Qué es la vida?
What is life?

A covert op. A memory. A dream of theater past.

Dominique Serrand’s adaptation of
Pedro Calderón de la Barca’s Life is a Dream
Stanford Theater and Performance Studies

Palo Alto Racist Sidewalk

Stanford Indian at 735 Emerson St, Palo Alto, CA 94301.

Palo Alto, Stanford Indian, Racist Mascot, Silicon Valley, Stanford University, Emerson Street
Every society needs educated people, but the primary responsibility of educated people is to bring wisdom back into the community and make it available to others so that the lives they are leading make sense.
Vine Deloria Jr.

The Burghers of Calais

The Condemned Men of Palo Alto

So here’s the shot. Stanford’s quad, that cathedral to optimism and endowments, and right there in the middle: six bronze figures who understood that sometimes the price of collective survival is individual annihilation. Rodin’s Burghers of Calais. Cast number seven, if anyone’s counting.

Look at them. 1347, their city starved and surrounded, and these six guys, merchants, leaders, bourgeois in the truest sense, volunteer to walk out with ropes around their necks, keys to the gates in their hands, ready to die so everyone else gets to live. That’s the deal. That’s the social contract written in flesh.

And I’m standing there in the quad thinking: one of these guys should be holding a Louis Vuitton trunk. I mean, why not? If you’re going to your execution, might as well carry your existential dread in monogrammed calfskin, right? The absurdity would be perfect. Suffering as accessory, sacrifice as statement piece. We’ve turned everything else into a commodity. Why not martyrdom?

The robber baron who built this place, Leland Stanford, railroad magnate, guy who knew how to move merchandise across a continent, understood monuments. Bronze in a public square says, “This happened. This matters. Remember.” But here’s the thing about Rodin: the French bourgeois who commissioned this piece wanted heroes on a pedestal. Rodin gave them humans at ground level. Terrified. Hesitant. Broken. He wanted people to bump into them. To walk among them. To accidentally brush against a bronze shoulder on their way to class and be forced to reckon with what sacrifice actually looks like.

That’s what great public art does. It refuses to let you off easy. It doesn’t pander. It gets in your way. Stanford’s founder wanted legacy, wanted his name in bronze and marble. He got it. But he also got this: a daily reminder that real courage looks nothing like triumph. It looks like six guys shuffling toward death because it’s the only decent thing left to do. And they’re not above you. They’re with you. In your space. Unavoidable.

The light in this shot is clean, honest. No magic hour, no Instagram bullshit. Just Rodin’s vision against Stanford stone, old world sacrifice meeting new world ambition.

Nothing is a waste of time if you use the experience wisely, Rodin said.

So look at them. Really look.

The Burghers of Calais, Rodin, Stanford University, Stanford Arts, Cantor Museum, Stanford Quad, art, artist, documentation, potography

Nothing is a waste of time if you use the experience wisely.
Auguste Rodin
quoted in Heads and Tales (1936) by Malvina Hoffman, p. 47

Rodin’s The Burghers of Calais
Stanford University

Chocolate Heads in The Anderson Collection

Figures in a California Landscape: a dance performance by movement troupe Chocolate Heads inspired by Manuel Neri’s sculptures in The Anderson Collection at Stanford University.

Anderson Collection, Cantor Arts Center, Stanford University, Chocolate Heads, site specific dance, performance studies, Stanford Arts, Stanford TAPS, Aleta Hayes, Museum, Manuel Neri, sculpture, palo alto

Anderson Collection, Cantor Arts Center, Stanford University, Chocolate Heads, site specific dance, performance studies, Stanford Arts, Stanford TAPS, Aleta Hayes, Museum, Manuel Neri, sculpture, palo alto

Anderson Collection, Stanford University, Chocolate Heads, site specific, fance, theatre, theater, performance studies, Stanford Arts, Stanford TAPS, Aleta Hayes, Museum, Manuel Neri, Figure, sculpture, photography, documentation, bay area, palo alto

Anderson Collection, Stanford University, Chocolate Heads, site specific, fance, theatre, theater, performance studies, Stanford Arts, Stanford TAPS, Aleta Hayes, Museum, Manuel Neri, Figure, sculpture, photography, documentation, bay area, palo alto

This piece is part of a year long Aleta Hayes/Chocolate Heads project exploring the idea of California. Native Californian, Manuel Neri with his interest in the human figure, provoked this deepened investigation of the moving body in the landscape, that began August 2017 on the Djerassi Artist Residency Ranch in the Santa Cruz Mountains and came to completion in the Anderson Collection at the Cantor Arts Center on the Stanford Campus.

sometimes I want to break the structure down into certain areas,
and I use color to do that for me.
I use color to accent or as a destructive element on the figure.
Manuel Neri

×