When considering our narratively driven auditory experience with visual elements, one such sentence comes to mind from Ivakhiv’s discussions on different filmic styles; ‘Such unusual styles necessarily require work from their audiences‘. This pertains to my groups work as we are using audio as our main driving force to tell a story, although we are still including visuals. The visuals are essentially unimportant and only serve as a backup to make the piece feel less like a basic podcast episode, but they also add something to the work. Without clear visual input, the audience is then forced to work in their heads to come up with images and think about what the world is truly like while listening, making it a unique and personal experience to the individual.

When looking around for creative works to help inspire our media project, I came across an exhibit by chinese artist Cai Guo-Qiang, in this exhibit he sailed a fishing ship,  from his hometown of Quanzhou to Shanghai, which was full of sculptures of sick endangered species. Cai said that “The problems we have now are a symptom of the times where people are more aggressive and materialistic and are exploiting nature’s resources to make money for their own means.” and this was a great art piece to help me think about our groups work. We want to show the worst of the outcome and how humanity has doomed the planet through inactivity and lack of action towards fixing the environment. Because the world has been exploiting the earth and people are becoming more and more materialistic every generation.

‘There is a fine line between acknowledging the extent and seriousness of the troubles and succumbing to abstract futurism and its affects of sublime despair and its politics of sublime indifference.’
We wish to encourage action through our exploration of climate ‘troubles’. Our work might make viewers think about how much they contribute to helping the climate change prevention cause. We also want to explore the despair and desperation that is brought about through the changes to the world due to these longlasting effects.

• Ivakhiv A, 2013. ‘Enframing the World, or Expanding Perception?’, Ecologies of the Moving Image: Cinema, Affect, Nature. Wilfrid Laurier University Press, pp. 125–123.
• Duggan J, 2014, ‘China’s environmental woes inspire art’, The Guardian, viewed 30 April 2021, <https://www.theguardian.com/environment/chinas-choice/2014/aug/15/chinas-environmental-problems-cai-guo-qiang>.
• Haraway D, 2016. ‘Introduction’, in: Staying with the Trouble: Making Kin in the Chthulucene’, Duke University Press, Durham, pp. 1–8.