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The strange shape of environmental politics

I’m hazarding there are three possible responses to environmental politics:

1) The eco-modernists. (Beloved of big business, progressive bureaucrats and technophiles; believe if we work hard, eco-modernism can save us).
2) The “Keep Calm And Carry On” contingency. (Most people. Suspicious of change, and therfore not keen on the above, or…)
3) The radical alternative-ists. (Loathed by both the above. Broadly utopian and egalitarian and unlikely to have much purchase with category 1) who regard them as a bunch of feckless Luddites.)

These are leaky categories of course and we probably have a bit of each in all of us. Now I’m toying with how to reconcile the above with the Mary Douglas/Michael Thompson/Matthew Taylor ideas of cultural theory, because on first glance they don’t fit too snugly. Cultural theory sees society as containing separate cultures that are in constant conflict. Mary Douglas wrote in  A History of Grid and Group Cultural Theory:

In conflict compromise counts as betrayal. Opponents dismiss out of
hand evidence from other kinds of institutions. According to CT, their intransigence is neither irrational nor immoral. It expresses their loyalties and moral principles, and their responsibilities to other members of their society. 

 

… which is enough to make anyone who’s been involved even glancingly in environmental politics emit a knowing chortle.

CT then proposes you apply a grid to any society to try and identify those cultural loyalties. It suggests you look for four groups – the heirarchical, the egalitarian, the individualist and the fatalist. For a fuller explanation of these groups, look here.

I tie myself in knots trying to apply the theory to the environment issue (though Michael Thompson has attempted it in an essay called Cultural Theory, Climate Change and Clumsiness). To me, the four CT groups don’t fit at all neatly with my three categories.

Category 1) contains both the heirarchical and individualist. It would be well represented by Thomas L. Friedman’s Hot Flat And Crowded,
a book which suggests that American entrepreneurial know-how is the
only way to save the planet and which John Gray took apart spectacularly in his
review in last Sunday’s Observer.

Category 2) contains both the individualist and the fatalist, apparently happily co-existing.

Only category 3) appears to fit as the so-called egalitarian approach, but even that is dubious on closer examination. As right-wing critics of George Monbiot might say with some justification, and as the NUM have said about Climate Camp, there’s nothing that egalitarian about much of the green movement. 

If you follow the CT line, I suspect you’d say that the fact that the CT grid group doesn’t quite fit my categories is a potentially good thing, as it suggests alliances can be made that form what Michael Thompson calls a “clumsy” solution.

That may be true. I don’t know. At the moment the three groups I outlined at the top regard each other with the kind of contempt that would make even the doughtiest anthropologist’s toes curl.

Matthew Taylor is willing to explore a great deal of complexity in his understanding of those four paradigms – pointing out the conflicting paradigms at work behind Kyoto, say. I know Mary Douglas herself studied this when looking at environmental groups in the US in Risk and Culture which drew unflattering disctinctions between heirarchical environmental groups like the Sierra Club and righidly egalitarian ones like Friends of the Earth.

For the moment, I’m probably missing something, but I can’t really make the CT paradigm sit neatly onto the strange non-traditional shape that environmental politics has thrown up. That does nothing to challenge underlying fundamental insight behind Mary Douglas’s work; that problems like this have a crucial cultural dimension that is misunderstood by politicians, behaviouralists and other scientists. For that, take a look at Cultura21.net, which Sacha Kagan and other academics have been working on for the past few years to conceive an inter-disciplinary approach.

Photo: Disrupted Ecosystems: Great Barrier Reef, Belize, by Susannah Sayler 2006. Courtesy of the Canary Project.

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Hedwig Fijen on the politics behind chosing Murcia as the home of Manifesta 8:

This week Manifesta announced that Manifesta 8, the latest in the series of European art biennials, was going to be held in 2010 in Murcia in southern Spain. Curator/founder/director Hedwig Fijen gave the reasons to the Spanish press:

“We have chosen Murcia because it is a place of transit and crossing of cultures and because it is a region which has two faces two of the most urgent
challenges facing humankind, those of immigration and water.”

A little more here.

Chernobyl by Jaime Pitarch 2007. Manifesta 7, Bolzano, Italy

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Cities on the Brain

Jonah Lehrer’s book How We Decide has received quite a bit of attention recently, and his website is chock full of other good reads.

I particularly enjoyed a recent piece in the Boston Globe on how cities dull our brain while also being fertile areas for innovation. Here’s an excerpt:

Now scientists have begun to examine how the city affects the brain, and the results are chastening. Just being in an urban environment, they have found, impairs our basic mental processes. After spending a few minutes on a crowded city street, the brain is less able to hold things in memory, and suffers from reduced self-control. While it’s long been recognized that city life is exhausting — that’s why Picasso left Paris — this new research suggests that cities actually dull our thinking, sometimes dramatically so.

“The mind is a limited machine,”says Marc Berman, a psychologist at the University of Michigan and lead author of a new study that measured the cognitive deficits caused by a short urban walk. “And we’re beginning to understand the different ways that a city can exceed those limitations.”

The piece goes on to explain that some greenery, or trips to nature, help cognitive function. Without it, city dwellers are less able to cope and take advantage of all the ideas around them.

One argument is that this sort of explains the enduring interest in landscape paintings and images.

> Read the whole thing at How the City Hurts the Brain.
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Turning Snow Into Oil Paintings

{Disappearing series, 2A, 2B, 2007, oil on canvas, 48×24 inches, by Diane Burko}

Clicking around the site for the upcoming show Out of the Blue, I found these works by Diane Burko. Some might question the need for more landscape painting, but these seemed to make sense to me. Sure, they could be photographs but in the post-everything art world, that argument is old hat. And something about translating this scene into oil creates a different relationship with the content. Plus the vertical diptych is killer.
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Fungus Fight! No really, it’s for art.

On this blog there’s been some debate as to the preservation of environmental art and its merits. When does a work that is meant to decay become not-an-artwork, that is, just another rotting thing?

Curators in Venezuela are determined to never let it get that far– at least, not with traditional works of art. Paintings, tapestries and wooden objects in warm climes are prone to attack from fungi, insects, and bacteria. The curators have amassed for the 4th Cultural Heritage Conservation Forum in Venezuela’s capital, Caracas.

Of the tools used to combat art decay, one is bacillus thuringiensis, pictured above. It produces toxin crystals , when ingested by offending insects, causes a swelling that leads to a fatal rupture. Yeah, it makes bugs blow up. It’s also used as a pesticide in agriculture. One website describes the effect as “dying after indigestion.” The bacterium has also been spliced into genetically modified crops, creating, of course, controversy.
Whether the use of Bt to preserve works of art is a step towards ecological balance or yet-another example of our industrial-agriculturalized society (wah wah waaaaah), it at least highlights an important factor: that no artwork, whether designed to decay or not, is impervious to ravages of little hungry needling organisms.

Thanks to Current.

Go to the Green Museum

Recent and Upcoming Eco Art Shows

I’ve been busy as of late, getting ready for the recently passed open studios. I missed posting about the opening of one of these shows, but another one is coming up on the East Coast.

Anyway, here’s the info:

Out of the Blue, at Bergen Community College in NJ. Opening on Feb 17.

More at the show website.

EcoLogic LA, at Cypress College in Cypress, CA. Opened Jan 28 and runs through Feb 28.

More here.

Both of these shows were curated by the people behind Eco Art Space. I think it’s great that they are mounting shows on either side of the country, and also participating in the upcoming College Art Association conference in L.A.
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Drowning in information: MMR and climate

WILLIAM SHAW: This morning comes the news that measles is on the rise in the UK, predictably so as MMR vaccination rates dropped. The question is why so many people chose to disregard good information and clung doggedly instead to bad science or anti-establishment dogma. There's a parallel here with the science of climate change. From reading the media – new and old – you'd never know that the scientific community have reached a broad consensus that climate change is man-made. A Clive Thompson article in this month's Wired talks to Robert Proctor, a science historian at Stanford who coined the word antology to describe the concept of "culturally produced ignorance".

"People always assume," says Proctor, "that if someone doesn't know something it's because they haven't paid attention or haven't figured it out. But ignorance also comes from people literally suppressing the truth – or drowning it out – or trying to make it so confusing that people sto caring about what's true or what's not."

The information revolution has led to a civil war of beliefs in which half-truths are brandished indiscriminately. We drown in information; the science is lost. Just as, in the UK, the Daily Mail played a key role in muddying the waters around MMR, now  Christopher Brooker gives faux-legitimacy to climate scepticism in the Daily Telegraph. Brooker's arguments circulate on the web as gospel.

The facts one choses to see become increasingly an issue of culture, and the danger is that cultures are now digging themselves in increasingly doggedly. Example: Thompson points out that the numbers of Republicans who believe in anthropgenic global warming has declined from 52% to 42%.

Image: Still from Sandman by Patricia Piccini 2002, one of the films at Figuring Landscapes at Tate Modern, London from today 

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Altermodernism at Tate Britain

Off Voice Fly Tip by Bob and Roberta Smith 2009
Courtesy the artist and Hales Gallery. Photo: Tate Photography

WILLIAM SHAW: I know, like a few people, I start to twitch a little when Tate Triennial curator Nicolas Bouriaud explains his neologism Altermodern as a “dreamcatcher” for ideas about what happens to art after post-modernism – (see the video below) – but I find myself liking it anyway.

The winning thing about his Altermodern concept is that it admits it’s an aspiration as much as a piece of rigid critical analysis. In the one corner you have the idea art dealers’ idea of “emerging art markets”, which is an unpleasantly post-colonial notion at best.  In the other corner Bouriaud’s Altermodern at least aims for something better, something more equitable. On the Tate Altermodern site Bouriaud leaves the dreamcatcher aside and explains Altermodernism thusly:  “Altermodern is the cultural answer to what alter-globalisation is, a cluster of singular and local answers to globalisation.”

Which is good, no? As such, as an attempt at ethical response to post-modernism, it’s bound to stir up the cynics. 

 

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Come hell or high water: visualising climate

Tomorrow evening at dusk Chris Bodle’s Watermarks Project comes to life in Bristol city centre. The artwork takes the conjectures about the effect of global warming on sea level rise and projects them onto various buildings around the city.

He’s not the first to create something along these lines. In New York, Eve S. Mosher has long been wandering streets drawing lines in chalk across buildings and road, marking future tidelines. She’s one of the artists involved in the Canary Project, set up by artists and photographers to promote work that helps people see climate change looks like.

What’s nice about Bodle’s project is that it has absorbed the uncertainty of the effects of climate change. Though science is broadly in agreement about the fact of man-made global warming (despite Christopher Brooker‘s best efforts to suggest otherwise), how much and how quickly levels are going to ascend is the subject of much debate. The Watermarks Project turns the varying projections into, well, projections. Pictured above is a visualisation of where sea levels would be in the worst-case-scenario of the total Greenland icecap melt; the speed of that melt and the mechanism by which the ice is projected to disappear is one of the most hotly debated issues in climate change. Details of Bodle’s exhibition are here.

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