Mediating Changing Climates
1. Clark, T 2015, ‘Chapter One: The Anthropocene- Questions of Definition’, in Ecocriticism on the Edge: The Anthropocene as a Threshold Concept, Bloomsbury Publishing, p.1-28.
The piece authored by scholar, Timothy Clark, breaks down the various definitions and interpretations of the term ‘the Anthropocene’. While the term may not be officially recognized, it is a term that is utilized by scientific and nonscientific fields alike. Clark details how the ‘The Anthropocene’ was first coined by scientists to define the next ‘geological epoch the Earth entered with the industrial revolution’ (pg 1) otherwise known as the era of the earth where ‘Human activities have become so pervasive and profound that they rival the great forces of nature’. (pg 1) Over time, however, the term has attracted a variety of conflicting meanings ranging within “cultural, ethical, aesthetic, philosophical and political” (pg 2)
Clark firstly defines how the term additionally applies to the ‘Great Acceleration’, the time in which the impacts of humanity upon the biosphere has risen significantly. (pg 1) He then goes on to break down the broad viewpoints made by other scholars on ‘The Anthropocene.’ Scholar Timothy Morton, for instance, describes it as a new era where ‘humans are no longer excluded or merely decorative features of social, psychic, and philosophical space’ (pg 2) He additionally claims it began with the overuse of agriculture well before the industrial revolution. Conversely, he describes other viewpoints like that of Tobias Menely and Margaret Ronda, linking the Anthropocene to the global expansion of capitalism. (pg 2) By taking and breaking down these different viewpoints on the matter Clark demonstrates how the term is utilized in different fields to explain the impact of climate change on the earth in ways many can understand.
Clark goes on to utilize Braden R. Allenby and Daniel Sarewitz’s model detailing the three complex levels of effect that man-made technologies have upon the earth. Level One is described as the traditional idea of technology as ‘a simple tool’ (pg 6) with easy to predict cause and effect cycles. Level Two is described as when these technologies become ‘a complex socio-technological system, infinitely less predictable and more complicated’. (pg 7) Level Three is when the impact of these complex systems of technology has become impossible to calculate and predict. Clark is able to break down how due to the increase of so many hyperobjects reaching this third level of complexity, yet only being treated at a level one stage, has created a great deal of ignorance of the effects of climate change for the population. (pg 9) Thus making attempts to challenge and change these impacts highly difficult.
Clark goes on to explore how the Anthropocene is an epoch where humanity has brought on a great deal of self-reflection in regards to our own impact on the earth. An act not seen in other epochs of the earth. With the rise of climate change, the demand for this self-reflection and taking responsibility has never become more important. Clark implores how this ecocriticism is and should be applied as an ‘emergent culture, a metamorphosis in the way ‘we’ think, understand and read.’ (pg 17) By utilizing our knowledge of the Anthropocene Clark hopes that the use of the arts can create an ‘eco-cosmopolitanism capable of uniting people across the world without erasing important cultural and political differences.’ (pg 17) Through Clarks words and push for the unification of ‘politics, culture and art’ (pg 17) in regards to the Anthropocene. It is clear that Clark would also view media making as an essential way to convey and combine the severity and charged emotions behind the ecocriticism of the Anthropocene.
2. Hammond, P 2017, ‘Introduction: ‘Post-political’ climate change’ in Climate Change and Post-Political Communication: Media, Emotion, and Environmental Advocacy, Routledge, pp. 1-17.
In this reading, authorized by Phillip Hammond, Hammond discusses living in a post-political society and the consequences this has brought upon Climate Change and its overall effect on society’s response. He details how in the ’90s, there had been a steady increase with the overall concern of climate change. Calls to action to the government and small changes to environmentally friendly alternatives had become commonplace ‘all in the name of reducing human impacts on the environment and combating climate change.’ (pg 2) However, Hammond also remarks that while these changes had “produced little or no meaningful action.” (pg 2) By bringing Climate change to the forefront, critics have argued that Climate change is now being deemed as ‘strange non-political politics’ that works through ‘compromise, managerial and technical arrangement, and the production of consensus’ (pg 2).
To unravel this change, Hammond delves into ‘the political life in Western societies since the end of the Cold War.’ (pg 3) He does this by citing many various scholars including Slavov Zizek, who argues that politics has deteriorated as both sides of the political spectrum become full of western elites focused and unwilling to move outside the confines of a capitalist society. Because of this, it is argued that this realm of post-politics has ‘closed off the possibility of change’ (pg 5) Hammond describes how little action on climate change can also be due to the mainstreaming and depoliticization of the issue. While on the surface to many this new representation of Climate Change would be deemed a success, it has overall ‘compromised its former radicalism.’ (pg 6) By providing the general public with a watered-down reassurance of political action, people no longer demand meaningful action to be taken, satisfied by their continued belief in what they want to see.
Hammond then proceeds to discuss the role of the media, culture, and emotion in the way Climate Change is viewed by the public. Hammond utilizes the arguments of various scholars including that of Anabela Carvalho, who criticized the news media as a vital role in ‘processes of political (dis)engagement in relation to climate change’ (pg 10). This criticism also drew upon research on how the public is commonly depicted as ‘passive and childlike’ (pg 10) and thereby presenting the culture around Climate Change ‘as the concern of elite decision-makers’ (pg 10) removing the agency of the public to join in on these discussions. Hammond goes on to argue from these points the importance of the emotional dimension in the media. By highlighting ‘the continuous use of fear and danger’ (pg 10) utilized by climate media, Hammond argues that this sensationalization of Climate change has caused the public to distance themselves from the issue as they no longer view it as a personal threat to their way of life or view it as an impossible task they are expected to overcome. By breaking down this fear, Hammond demonstrates media that portrays Climate Change as not ‘an uncertain risk, but a moral certainty’. (pg 12), such as Al Gore’s environmental campaign. The public can be convinced through media like this of a need to call for more action. People are in turn then less likely to turn away from the growing issue and with time, Climate change can be re-politicized in the eyes of critics and the world.
3. Nurmis, J 2016, ‘Visual climate change art 2005–2015: discourse and practice’, Wiley Interdisciplinary Reviews: Climate Change, vol. 7, no. 4, p.501-516.
The article was written by Joanna Nurmis the past and recent development of Climate Change art through various practices and the outcomes of these changes. Nurmis begins this by delving into the reality that Climate change in the media as a whole has been generally uninspiring due to a lack of engagement from audiences. This is due to ‘unbiased, scientific-based information on the impacts of climate change’ (pg 502) simply not being enough to sway audiences as the public is more likely to respond to ‘personally relevant affective images’. (pg 502) With the need to make an expansive and sometimes hard to see concept such as climate change more personal to the public, the media has turned to the growth of climate art to convey these desired images.
Nurmis argues that art has been the key factor in challenging audiences to make a change in regards to the climate as she quotes Marda Kirn in that ‘Artists can scream, scientists can’t’. (pg 503) With many scientists and journalists unable to ‘take sides’ (pg 503) in the debate at the risk of heavy scrutiny, art has become a form that provides an easier way to engage with audience members about climate change concerns. Nurmis utilizes various sources to establish that our climate reflects our culture and that ‘an honest response to climate change requires a cultural transformation.’ (pg 504) She includes voices like that of Hans-Joachim Schellnhuber, who agrees we need a ‘culture of attentiveness… participation… and obligation towards future generations.’(pg 505) She reinforces that art is capable of eliciting emotion whereas science is explicitly void of this quality. By being able to convey story and expression through art, audiences are able to reach a more personal understanding of Climate Change and its urgency.
Nurmis goes on to describe three categories that Climate art takes form from, each with varying levels of engagement. Representations are ‘two-dimensional pictorial art’ (pg 506) otherwise known as art 2D art like paintings, photography, etc. these are most useful in depicting ‘actual impacts to imaginative visions of climate change futures’. (pg 506) The category is also known to utilize images that commonly represent climate change like glaciers or carbon emissions. The second form, Installations, involves ‘three-dimensional objects’ (pg 506) that can be integrated with, generally placed with a museum or gallery. The third form, Interventions, includes art that artists have chosen to place ‘within the public space’ (pg 507) that don’t include galleries and allows the public to interact with it in their own way. While describing these categories and their engagement, Nurmis is quick to provide examples of climate art that falls under these categories. Such as that of Olafur Eliasson’s Intervention climate art ‘Ice Cloak’ that allowed, people to’ touch the inland ice on City Hall Square and be touched by it’ (pg 507) The differences in these arts show how Installations and Interventions are more engaging to the public by providing a level of interactivity. By providing audiences members a chance to become personally involved, it strengthens their own personal involvement in the issues of climate change being conveyed.