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Green Awards 2009 for Excellence in Communications

For lovers of sustainability communications, viewing this award program (and past year recipients) doesn’t get much better!

Check it out: The GREEN AWARDS™ recognizes excellence in 16 categories in 2009.  The awards set out to illustrate the crucial role that needs to be played by communications in informing people about green issues, products and lifestyle choices.

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The achilles heel of climate campaigners

As American writer Barbara Ehrenreich suggests in her book Bright-Sided, it’s now OK to say that optimism may be over-rated.  If a relentless economic positivism led to the economic crash, I’d also say that an instituational inability to say how dire things really are environmentally must now be seen as one of the contributing factors to why the public are reluctant to back the kind of radical measures we need from COP15.

In private, climate experts often admit they’re scared silly about what the future’s going to be like; in public they maintain a more positive face. There are, of course, very good reasons for this. Conventionally, we assume that people don’t change unless there’s something in it for them. But what if the climate crisis doesn’t fit this paradigm for cultural change? What if we actually need to start to panic to achieve change?

A slightly comic tussle took place on Monday in the Guardian between two people – both climate campaigners – who hold opposing views on this. The new British bugle blower for looking apocalypse in the face has been the writer and activist Paul Kingsnorth, who, along with his friend Dougald Hine, established the anti-modernist Dark Mountain Project to urge us to embrace the end of civilisation, (see this blog from  a few weeks ago). Kingsnorth’s radical view is that civilisation is the disease, not the cure. Any efforts civilisation makes to combat climate change are doomed to failure, and will only prolong the descent.

Kingsnorth and the Guardian’s climate rottweiler George Monbiot went to head on this, Kingsnorth belittling Monbiot’s efforts to browbeat us to reform ourselves:

We still believe that we will be able to continue living more or less the same comfortable lives (albeit with more windfarms and better lightbulbs) if we can only embrace “sustainable development” rapidly enough; and that we can then extend it to the extra 3 billion people who will shortly join us on this already gasping planet.

It’s an odd situation for Monbiot to find himself in. Monbiot is more accustomed to coming under attack from the denial-bots of the conspiracist fringe. Now activist Kingsnorth himself is attacking his friend Monbiot forbeing a denialist. You have to feel sorry for the man. Interestingly poet and author Kingsnorth comes at the issue as much as an artist as a camaigner – and as noted earlier – art often scratches at the apocalyptic door.

Monbiot’s obvious defence is to point out that Kingsnorth’s millenarianism has a lurid seam of misanthropy to it:

I note that you have failed to answer my question about how many people the world could support without modern forms of energy and the systems they sustain, but 2 billion is surely the optimistic extreme. You describe this mass cull as “a long descent” or a “retreat to a saner world”. Have you ever considered a job in the Ministry of Defence press office?

Monbiot is right of course. Kingsnorth’s world is a dark one. It’s just whenever I hear Monbiot arguing like this, there’s something about the primness of his tone, the convolutions of his clauses and the use of words like “surely” that always makes me think of Miss Jean Brodie.

But despite the misanthropy of Kingsnorth’s position, he has hit on a real achilles heel of the climate change movement. It’s never healthy to believe one thing and say another.

Read the Guardian article.

The Dark Mountain Project

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By the by, Kingsnorth himself refers to Monbiot’s love of McCarthy’s The Road as evidence of Monbiot’s own millenarianism. Kingsnorth and I have been disagreeing about that book (see comments); he doesn’t think it’s about climate change at all. It’s one of those arguments where the only solution will be to pull McCarthy off the sidewalk and ask him himself:

EDIT. Coincidentally, Bill McKibben and Steven Colbert also danced around the same maypole on the Colbert Report, with Cobert adopting a slightly lighter form of millenarianism: “It’s game over. We should all have end of the world sex, right now. We’re all going to die!”

The Colbert Report Mon – Thurs 11:30pm / 10:30c
Bill McKibben
www.colbertnation.com
Colbert Report Full Episodes Political Humor Health Care Protests

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New York’s Waterpod; artists of the floating world

When Radical Nature opened, some critics bemoaned the fact that the exhibition was cloistered away from both the environment it discussed, and the audience that it deserved to reach. EXYZT’s wonderful Dalston Mill project was a clear answer to those critics

In New York, The Waterpod – pictured above – has been slowly circumnavigating Manhattan. Conceived by artists Mary Mattingly and Mira Hunter as a literal platform for art, it brings New Yorkers to the water that surrounds their island. Like Dalston Mill it provides not only a space for performaces, artworks and discussions, but it creates a triangulation between food, community and environment. This live-aboard ark grows at least some of its own food and includes its own henhouse.

For a taste of what it’s like to live and work aboard The Waterpod, try this NY Times article, which reveals that the floating pod was built from a variety of donated materials, including metal railings used in a Broadway production of Equus, and foliage print wallpaper recycled from the US soap As The World Turns.

It’s currently moored at Pier 5, Brooklyn Bridge Park but will be moving on to Staten Island after the 17th. Have any readers visited The Waterpod? Did it work?

Photo: thanks to BH301.A7

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The Culture of Bioremediation: Terry Hazen Interview.

The signature on an email from Terry Hazen is a paragraph long. It has to be- it lists a multitude of titles.  He’s the Head of the Ecology Department at the University of California at Berkeley. The Head of the Center for Environmental Biotechnology. The Lead of Microbial Enhanced Hydrocarbon Recovery at the Energy Biosciences Institute. The list goes on. Hazen is, therefore, the perfect man to talk to about our current attempts to correct massive ecological f-ups, and what that means for artists.

Hazen’s world is inhabited by mircoorganisms, or, as he colloquially refers to them, “bugs.” There are bugs that eat pollution, bugs that chemically reduce uranium, bugs that feed on hydrocarbons. ” I still feel a lot of people are amazed that there’s a bug out there that can degrade just about anything, ” he says. While the idea of the “magic bug” is sometimes helpful to the remediation industries, there is, he cautions, no bug without context.

“It’s so easy to sell bioremediation, ” he says. “It can completely degrade contaminants in laboratory settings, (but) in the environmental settings it may not work as effectively, or make it worse.” He cites the example of arsenic, which actually becomes more soluble– and  likely to contaminate the water table– when reduced.

“Some companies will go for the quick fix, not realizing that in cleaning up one contaminant, they exacerbate three others, ” he laments. “They often don’t look for a complete solution.” Hazen’s work  is dedicated to more of a “complete systems biology” approach. Sometimes, he argues, the best thing for a polluted site is to just leave it alone. You can see one of his excellent and comprehensive lectures here.

While navigating the maze of invisible bug-land, Hazen keeps environmental art within reach. On his office wall hangs a piece of artwork by a 10-year old girl, depicting storks in the Danube river riparian zone. He obtained it while in Serbia for an Environmental Remediation meeting.

“Art that educates or just inspires people to reuse, recyle, reduce, and remediate, to make our land and water less toxic and less toxic for generations to come makes us all better doesn’t it,” says Hazen. He would know: he spends much of his time managing the methods that attempt to clean up our mistakes.

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Emulating Genius: learn how to do it in under 2 hours

Many thanks to everyone who came to the event, ran around forming adaptive eco-systems and generated new design possibilities. (And sorry to those who couldn’t get in because the event sold out).

Biomimicry is a new discipline that consciously emulates life’s genius.

It’s a design principle based on the genius of nature. The idea is not simply to utilise the natural world, but to learn from the exceptional aspects of its design.

It is the most radical approach to problem solving I have heard of.

And when architect Michael Pawlyn (FRSA) told me about it, I thought: ‘ Hmmm, it’d be good to learn how that works – not just ‘hear about it’ as something interesting – it would be great to understand the principles of it, then find ways to apply it.’ Then I drifted off into a daydream about the possibility of applying biomimicry in the arts….

So Michael has been developing games that can teach the principles of how biomimicry works – and we g0t to try them out with him and ecologist Dusty Gedge (FRSA).

The event is part of the Barbican exhibition Radical Nature – Art and Architecture for a Changing Planet 1969–2009.

The genius behind the genius of biomimicry is Janine Benyus – she is an Ada Lovelace for the 21st century. If you want to see a short introduction to Benyus’s work, her latest TED talk is now online.

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APInews: 2009 iLAND Residencies: Waterways and Strataspore

iLAND (interdisciplinary Laboratory for Art Nature and Dance) has announced the recipients of its 2009 iLAB collaborative residencies: two collectives called Waterways and Strataspore. The New York residency program supports collaborations among movement-based artists and scientists, environmentalists, urban designers/landscape architects, architects and others that integrate creative practice within different fields/disciplines, culminating in public actions. Waterways is a collaboration among The League of Imaginary Scientists and Danish choreography collective E.K.K.O. Their research, surrounding the theme of water, takes place aboard the Waterpod, a floating habitat that is host to collaborations and artists, beginning August 15 at Brooklyn Bridge Park. StrataSpore is “a platform for collective knowledge about mushrooms” as the pivotal orientation point for exploring urban systems. Strataspore’s public work begins October 5 at Gabriel Rivera’s facade/fasad in Brooklyn. Details online.

via APInews: 2009 iLAND Residencies: Waterways and Strataspore .

APInews: New in Places To Study: Art and Environment, WVU

New in CAN’s Places To Study database is “Art and Environment,” a course taught by Erika Osborne at West Virginia University in Fall 2009. The multidisciplinary graduate and upper-division undergraduate studio/seminar course is designed to increase awareness for the interactivity of studio artists and the environment, including studio work and extensive field activity. Students will address topics such as micro-ecology with soil scientist Jeffrey Skousen; astronomy with physicist Boyd Edwards; organic agriculture with Steve and Sunshine Vortigern of Round Right Farm; permaculture with landscape architect Ashley Kyber; Kayford Mountain (a mountaintop removal site) with Larry Gibson of Keepers of the Mountains; acid mine drainage with Amanda Lachoski of Friends of Decker’s Creek; and art in Antarctica with artist Chris Kannen.

via APInews: New in Places To Study: Art and Environment, WVU .

Sculpting clouds

Artist-in-residence at UCL’s Environment Institute Martin John Callanan has completed his artwork A Planetary Order, a terrestrial globe showing clouds around the planet from one single moment in time. Working with satellite data provided by the Institute, he’s created a 3D representation of the data to portray this thin mantle of water vapour that shields the earth. This delicate, pale globe will be on public display soon at the institute’s Pearson Building. Callanan says, via email:

A Planetary Order is a terrestrial globe showing clouds from one single moment in time, thereby subtly highlighting the fragility and interdependence of the Earth’s environmental systems.”

The Globe was digitally manufactured (SLS) in a single piece measuring 300mm diameter with clouds scaled to 1-12 km above the Earth’s surface. Landforms are absent from the model, but cloud formations will give glues to the continents located below.

http://www.ucl.ac.uk/news/news-articles/0906/09062303
http://greyisgood.eu/globe/

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Brent Bucknum of Hyphae Design: a profile.

We don’t have time to do environmental at that’s not functional.

– Brent Bucknum



In working on a Climate Clock for the San Jose Initiative, designer Brent Bucknam would often get into theoretical debates about the nature of art. His project partner, Brian Howe of greenmeme, would quote Picasso: Art is the lie that reveals the truth. Brent’s response was the quote above.

It’s one of the central questions of the environmental art movement, and one that is integral to Brent’s work with Hyphae Design Laboratory, a company he founded.

How can art save the world?

Artists on greenmuseum.org and elsewhere  are blurring cultural boundaries between art and science, science and activism, volunteerism and performance. Traditional forms hold fast, but functionality remains central to Hyphae’s work. Function: defined by this designer as “interpreting and conveying ecological information or serving otherwise as an ecological tool or system.” Hyphae is currently working on a project in West Oakland, a plan to line the 580 highway on either side with towering stands of bamboo, natural air and particulate filters. On a greenmuseum.org-sponsored panel at the recent Earth Matters on Stage Symposium, he presented a number of other exciting projects, from green roofs to living walls.

The 28-year old designer went to a farming high school. He worked for bioremediation and green roof companies before joining Rana Creek, with which he worked on the California Academy of Sciences’ living roof. He became that company’s first Director of Design before moving on to create Hyphae.  He sees his new company as a catchall, providing services from ecological design and research to consulting for artists interested in environmental projects.

That last aspect is the result of Bucknum’s own experiences making environmental art: he’d like to see artwork that ’s better informed by ecology, not, as he puts it, the “horti-torture” that creates living systems barely able to survive the duration of an exhibition. He’d like the art to be the change it would like to see in the world: smart, sustainable, and thriving.

Go to the Green Museum