Programs and Communities

Better methods are necessary to fully account for anthropogenic impacts on ecosystems and the essential services provided by ecosystems that sustain human life. Current methods for assessing sustainability, such as life cycle assessment (LCA), typically focus on easily quantifiable indicators such as air emissions with no accounting for the essential ecosystem benefits that support human or industrial processes. For this reason, more comprehensive, transparent, and robust methods are necessary for holistic understanding of urban technosphere and ecosphere systems, including their interfaces. Incorporating ecosystem service indicators into LCA is an important step in spanning this knowledge gap.

For urban systems, many built environment processes have been investigated but need to be expanded with life cycle assessment for understanding ecosphere impacts. To pilot these new methods, a material inventory of the building infrastructure of Phoenix, Arizona can be coupled with LCA to gain perspective on the impacts assessment for built structures in Phoenix. This inventory will identify the origins of materials stocks, and the solid and air emissions waste associated with their raw material extraction, processing, and construction and identify key areas of future research necessary to fully account for ecosystem services in urban sustainability assessments. Based on this preliminary study, the ecosystem service impacts of metropolitan Phoenix stretch far beyond the county boundaries. A life cycle accounting of the Phoenix’s embedded building materials will inform policy and decision makers, assist with community education, and inform the urban sustainability community of consequences.

The City of Phoenix Street Transportation Department partnered with the Rob and Melani Walton Sustainability Solutions Service at Arizona State University (ASU) and researchers from various ASU schools to evaluate the effectiveness, performance, and community perception of the new pavement coating. The data collection and analysis occurred across multiple neighborhoods and at varying times across days and/or months over the course of one year (July 15, 2020–July 14, 2021), allowing the team to study the impacts of the surface treatment under various weather conditions.

While the majority of the scholarship around surrealist relationships with fashion look at the era of the 1930s onwards, this article considers the first period of surrealism during the 1920s, including its prehistory in the mouvement flou as it emerged via Paris Dada and Littérature, asking two related questions: what was the presence and status of the discourse of fashion for surrealism during these formative years; and in what kinds of fashion practices did its members engage? In response to the first of these, an examination of the group’s journals, publications and documents suggests that fashion stands as a significant and abiding area of interest for the group and its members. Writings by André Breton, Louis Aragon, René Crevel and others are correlated with surrealist images and artworks to reflect upon this sustained and informed engagement with men’s and above all women’s fashion, and suggest a particularly keen awareness of the changes in clothing styles over the recent past. The second question has rarely been asked in a systematic way: how did the early Parisian surrealists reflect these interests in their own day-to-day fashion choices and preferences? Given that the majority of the early Parisian surrealist group was male, the focus here is predominantly on men’s fashion, and analysis of memoirs, correspondence and documents such as the photographs taken in the Bureau de recherches surréalistes provides evidence of collective and individual positions. The fashion choices of Simone and André Breton form a particular area of concern, revealing some nuanced developments and unorthodox moments in their day-to-day attitudes.

During his wartime exile in New York City, André Breton responded to the popular entrenchment of Surrealism as a language of shop window merchandising by leading a small group of artists and writers to take the publicity of Surrealism into their own hands. At Breton’s behest, Marcel Duchamp designed three shop windows to advertise texts released by the French publishing arm of the Fifth Avenue bookstore Brentano’s in 1943 and 1945. Although art historians have called attention to the relationship between these designs and the iconography of better-known works by Duchamp, this paper considers them as instantiations of Breton’s evolving thought within the context of a commercial environment already saturated with surrealist imagery. It places them within an iconographic web that includes, among others, Salvador Dalí’s famed fashion displays of the preceding decade, multiple iterations of Duchamp’s “twine,” and works by Kurt Seligmann, Roberto Matta, and Breton himself. The paper argues that, exemplifying the prewar surrealist motif of interior and exterior permeability and bringing it to a breaking point, these obscure windows for French-language texts became an important laboratory for the engaged critique of consumerism that would come to the forefront of the surrealist movement during the postwar period.