Matthew Taylor

What is it that art could do for the environment?

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Kellie Payne reports on the Green Alliance’s summer debate about the arts and the environment.

For their summer reception, the environmental think tank Green Alliance hosted an evening of opera and debate at the Royal Opera House. In conjunction with The Opera Group, the evening began with a fifteen minute excerpt of Luke Bedford‘s new opera Seven Angels, is inspired by Milton’s Paradise Lost and has environmental degradation as its theme.

Following the opera taster, there was a panel discussion entitled ‘What have the arts ever done for the environment? The panel included a mix of representatives from the worlds of policy, the arts and academia. It was chaired by Julie’s Bicycle’s Alison Tickell, and panellists included: The Southbank Centre artistic director, Jude Kelly, RSA chief executive Matthew Taylor, Arcola Theatre executive director Ben Todd, the sculptor Peter Randall-Page and David Frame, fellow of Oxford University. In her introduction, Tickell indicated that the Seven Angels was one among a crop of new work being made by British artists that addressed nature or the environment among those artists she listed were Antony Gormley, Ian McEwan, Jay Griffiths.

One of the main themes of the evening was an attempt in the discussion to answer the general question of what it is that art can do for the environment. It was generally agreed that one of the strengths of art was that it was well equipped to deal with the complexities that many environmental issues such as climate change raise. Matthew Taylor saying that art should be one of the many interventions required to tackle climate change.

One of the most eloquent responses came from the scholar, David Frame, who highlighted art’s ability to deal with complexity and tension. He felt that as climate change and environmental problems are so complex in nature, with for instance climate change knowledge dispersed amongst many specialists without a graspable whole. He said that the arts community has ‘a unique ability to convey complexity, delicacy, and beauty and among the things you can do is you don’t need to simplify…’

He pointed to the deficits in mediums such as Twitter or the 1,000 word Op Ed piece and contrasted this with the length of a novel or a film where he said ‘the possibilities for the ideas you can upload to people is phenomenal.’ This type of medium he said was also more able to cope with uncertainties. ‘You leave interpretation open which isn’t considered acceptable in other forms and I think that in doing so you can bring out tensions between these parallel values’.

Changing values seemed to be one of the key roles identified for art that emerged from the discussion. Alison said she has observed what she describes as a ‘palpable’ shift in values taking place rapidly and for her ‘the arts do have a role to play in reflecting and shaping and engaging with those values.’ While Matthew didn’t agree with Alison the extent to which values have already changed in the positive direction Alison described. In fact, he warned that during this current time of disturbance there is a clear dissatisfaction with current values but which way public opinion would turn was not decided. He said the dissatisfaction could lead in two ways, and not necessarily in a progressive direction he lamented that ‘it can go in a dangerous direction as well.’

The question of how politics should be addressed raised differing opinions. Jude Kelly began by announcing she ‘didn’t mind a bit of bad art’ provided that art had some sort of message. She went on to say, ‘I don’t think it’s a hanging offence to produce a message’ However if it’s not particularly interesting it might ‘bore me after awhile’. Further, ‘I don’t mind artists having a go. I really dislike the idea that artists shouldn’t be allowed to take centre stage to comment on things.

While Peter conceded that there was ‘nothing wrong with political art’, for him it was less the politics which art was best equipped to address. He was more of the mind that art’s quality was that it didn’t have a direct ‘purpose’ that it was its intrinsic values alone that made art great. He believes that ‘arts are not well placed to (do) issue based lobbying’ contrasting what he finds often to be the pragmatism of the environmental movement with the arts ability to nourish imagination and the spirit in the way the natural world does. ‘I think the role that I feel for the arts in environmentalism is that it… reminds us that we’re not all bad. If we only feel negative it’s impossible for us to move forward and remove this exclusively pragmatic approach to looking after the world.’

Matthew wanted to introduce a third way of thinking about the issue agreeing that art shouldn’t attempt to kick us around the head. However, he felt art could ‘challenge people to live differently and value things in slightly different ways.’ Providing a vision of how ‘a different, deeper kind of understanding about what makes life worth living and what it is society wants to be.’ This task he felt art was ‘incredibly well suited’. That is, ‘art is there to explicitly to get you to think about what the good life is.’ He concluded this thought saying ‘art shouldn’t be ashamed to say that art is here to help you rethink what our values are and I don’t think that requires you to revert to a kind of crude placard waving.’

In addition to the discussion about art and politics, the panel also touched on the controversial issue of artists lifestyles and the high carbon footprint of the arts. The general attitude on the panel was that this shouldn’t be paid as much attention as it has been. Jude Kelly saying that this arts requires face-to-face interactions and not allowing artists to fly amounts to a cultural boycott. But Matthew Taylor thought artists should be accountable, and if they want to have influence on others they have to take account of their own actions.
Increased collaboration amongst artists was encouraged, suggesting that the problem of the environment is one that artists should attempt to do together. Arts organisations such as Cape Farewell and Tipping Point were highlighted as doing exceptional work, helping to inform artists of climate change and bringing the topic to their consciousness.

It was edifying to see an organisation such as the Green Alliance, who normally deals with more policy related issues such as building a sustainable economy, investigating climate and energy futures, designing out waste and political leadership to host a conversation with the arts community. A cursory glance over badges of audience members saw representatives from business and policy, including the Department for Energy and Climate Change and The Environment Agency, so the wider these issues can be encountered and discussed the better. It’s time the arts community made it’s voice heard in the conversation about climate change. Peter concluded well, stating that it is artists who need to create metaphors and narratives which make it possible to go into the future.

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

The editors are Robert Butler and Wallace Heim. The associate editor is Kellie Gutman. The editorial adviser is Patricia Morison.

Robert Butler’s most recent publication is The Alchemist Exposed (Oberon 2006). From 1995-2000 he was drama critic of the Independent on Sunday. See www.robertbutler.info

Wallace Heim has written on social practice art and the work of PLATFORM, Basia Irland and Shelley Sacks. Her doctorate in philosophy investigated nature and performance. Her previous career was as a set designer for theatre and television/film.

Kellie Gutman worked with the Aga Khan Trust for Culture for twenty years, producing video programmes and slide presentations for both the Aga Khan Foundation and the Award for Architecture.

Patricia Morison is an executive officer of the Sainsbury Family Charitable Trusts, a group of grant-making trusts of which the Ashden Trust is one.

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Hacking together a project

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In a blog a couple of weeks ago, Matthew Taylor called for ideas for a new RSA project on manufacturing. Given the RSA’s commitment to practical project work, he suggested that heavy industrial projects would be impractical for us and that worthy reports on the future of manufacturing in the UK are two-a-penny.

The rise of hacking (see this paper published by the RSA’s Design team in 2009) provides food for thought, but the practical project isn’t yet clear… Anyway rather than go over the same ground again, I thought I’d do something more constructive, like make a map of the Hackspaces that are springing up around the UK. This one (click on it to go to the actual map) shows the Hackspaces listed on the Hackspace Foundation website as of today.

I’d be interested to know what factors contribute to the forming of a hackspace. Is it a university near by? More diverse or tolerant communities? Concentration of creative or high-tech industry? What do you think?

Map of UK Hackspaces – data taken from http://hackspace.org.uk/

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RSA Arts & Ecology – Jan 14 | State of the Arts Conference

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State of the Arts Conference
Thursday, 14 January 2010
Park Plaza Riverbank, SE1 7TL
Tickets: £115 (includes VAT)

The State of the Arts Conference, organised by the RSA and Arts Council England, brings together a wide range of creative voices to debate the value and purpose of the arts at a time of significant change.

We recognise that arts and cultural experiences are more diverse, disruptive and fast moving than ever before. The conference will explore with artists, entrepreneurs, cultural leaders and policy makers what kind of arts landscape we need and how we might get there.

Join us in examining the key role of the arts and arts policy in building a strong future for the nation.

Keynote presentations by:

Riz Ahmed, actor and performer
Ben Bradshaw MP, UK Arts Minister
Alan Davey, Arts Council 
Andy Field, Forest Fringe
Dame Liz Forgan, Arts Council
Jeremy Hunt MP, UK Shadow Arts Minister
Nicholas Hytner, National Theatre
Jude Kelly, Southbank Centre
John McGrath, National Theatre Wales
Lord David Puttnam
Matthew Taylor, RSA

For more information see the main State of the Arts Conference page at RSA Events.

Please visit our FAQ page if you have any queries on the conference.

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How the web changes what art will be

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I have been spending time in the presence of cyber-dystopians.

Last Tuesday I went to great talk by Evgeny Mozorov at the RSA, to hear Mozorov pour scorn on the idea that the internet is the harbinger of a new democratic personal freedom. He suggests that totalitarians and corporate astroturfers alike love it when we unthinkingly accept the internet as a force for good; it makes their work so much easier for them. Institutions are weakened by social media? Bah! It strengthens their hegemony.

I went to Art of Digital, hosted by FACT in Liverpool, where a great line up includedAndrew Keen rehearsing the thesis he put forward in Cult of the Amateur, namely that the internet is destroying the underpinnings of our culture by making conventional cultural transmission valueless, destroying newspapers and publishers and replacing erudition with Wikipedia. (Actually he’s moved on a little since then – but I’ll come to that in a minute.)

It’s true we have lived in the age of technological positivism for a little too long. When I freelanced for Wired it seemed almost heretical to suggest that some of the things we were writing about might not actually ever happen. A little corrective to that relentless utopianism is no bad thing. However the new public speaking circuit – something which has blossomed unexpectedly in the virtual age – naturally magnifies the extremes of the argument. You’re more likely to be listened to if you say something is either brilliant or crap.

While it’s true that the internet is altering culture fundamentally, maybe it’s time we started being a little more systematic about finding out exactly what it is that’s really going on.Matthew Taylor said this in his blog yesterday; any change produces results that are likely to be both positive and negative; we need to start understanding what they are. So what does this mean for the arts?

The Art of Digital strand has, naturally, been looking into that. I’ve argued elsewhere that arts institutions don’t fully understand the unfolding changes that are taking place – and the various consultants speaking earlier in the day, who didn’t go much further than describe social media as much more than a particularly whizzy new marketing tool, weren’t doing a great deal to change that outlook.

It was, paradoxically, Andrew Keen who pointed out one silver lining for the arts – and one that is going to be undoubtedly very powerful in years to come. We live in a world in which almost anything can now be copied for free. As the financial value of anything that can be copied disappears, so too the cultural value becomes undermined. For instance, recorded music, one of the greatest forms of the 20th century, is in a major slump from which it will never recover. Sure, there is great music still being made, but it’s a lot harder to get paid for it, and as a consequence, its cultural heft is drifting away. We are unlikely to see a cultural force as strong as, say, The Beatles – whose greatest music was never performed live – ever again.

But – sticking with music – we’re living in a golden age for performing artists. Never have as many people flocked to live concerts. The recession hasn’t even begun to put a kink in box office receipts.

As the value of the reproducible declines, the value of the irreproducible rises. A DVD of a performance is relatively worthless. Actually being there is invaluable. We are becoming a culture that wants the experience, as much as the content itself. Keen’s idea is an extension of Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction. What we want is the “aura” of the work of art, to use Benjamin’s word – and in the digital age, that aura becomes the uniqueness of a single performance. We want the now. We want the one-off. We want to be able to say we were present.

Not only does this mean that all arts that have that specialness of performance, from music, to live arts, to drama, can expect to thrive, but exisiting art forms seem to be changing too – and in the oddest way. For the last decade anybody who’s written a book knows you’re likely to make more money giving readings of the work than you ever receive in royalties. The literary festival – quite the most ungainly of arts events – has become a monster. Even the most tepid reader of their own work gets a look in. Crowds, who more likely than not haven’t even read the book, pay the price of a new book to hear the author read a small fraction of it. The “aura” becomes all important.

Of course that doesn’t mean that the world won’t still be full of struggling actors…

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Environmentalism is the new religion? So what if it is?

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Sceptics often say that environmentalism is a religion rather than a science. It was the late Michael Crichton who stirred this one up originally, writing: “environmentalism is in fact a perfect 21st century remapping of traditional Judeo-Christian beliefs and myths.” Fair enough: just like Marxism, which predicted a paradise to come after the end-time collapse of captalism, much of environmentalism undeniably draws its inspiration from 19th century millenarian Christianity. There is a catastrophic reckoning coming; there are saints and sinners. We’re all going to BURN in the post-Six Degrees world. And so on.

And, in this increasingly secular slice of Northern Europe, in particular, to call anything a religion is to belittle it.

But what if it is a new religion? Environmentalism certainly acts in the same way as many of the great non-conformist religions did. Those religions were passionate. They were about leading a more moral life. They were about taking action collectively rather than individual action. They held meetings regularly, gathered on commons and played loud music together. They too were derided as a bunch of feckless, dangerous, sandal-wearing wastrels.

I should say at this stage that I don’t have a religious bone in my body – though I once wrote a book on new religious movements that came out in paperback with a nice quote from Matthew Taylor’s dad on the front cover. I wrote it following the Waco siege, and what I came to realise when writing it was that it wasn’t that cults had become madder in recent decades, rather that we had become increasingly intolerant – even scared – of religious behaviour. This trend of suspicion and fear manifests itself intellectually in the radical scientific positivism of Richard Dawkins, for whom all believers are both deranged, and reducible to fundamentalists and Creationists. It manifests itself in the way we have conflated Islam with terrorism. And so on and on.

Religion has been around as long as human society; ideas of the sacred have been a crucial way in which we understand the physical world around us. From a historical point of view, what’s really odd is the aggressive secularism that’s taken hold in this small piece of the world.

But anyway. It turns out that the legal system is one step ahead. In yesterday’s Guardian blog, Andrew Brown points out that environmentalism is on the verge of accidentally being accorded the status of religion:

Is committed greenery entitled to the same protections as a religion? The question has come up with the appeal against the judgment in the case of Tim Nicholson, the former head of sustainability at Grainger, a property investment company, who claims he was dismissed in part because he took his green convictions seriously and the company did not. After a 2007 change in the regulations, he may be protected under the anti-discrimination law in the same way that a religious believer would be, providing only that his philosophical beliefs are cogent, serious and “worthy of respect in a democratic society”.

So there you go.

But thinking about environmentalism as if it were a religion is an interesting way to go. So far, it has to be conceded, religion looks a lot more successful at achieving its aims worldwide than the environmental movement has. The Pope still draws a bigger crowd than any Franny Armstrong video. Perhaps we shouldn’t be so shy of those elements of quasi-religious conviction that float into environmentalism.

The big difference is that environmentalism is of course, based on modern science, rather than old books and prophets. This is a secular religion, above all. But if it’s going to succeed, there has to be an element of faith there too. That sort of all-in this together faith that there is a possible future that is the other side of the apocalyptic vision. As Mark Dowd, Campaign Director of the church-based environmental campaign Operation Noah comments in theGuardian online today:

I believe virtue and example are contagious. Look at what happened recently with the launch of the 10:10 campaign, which the Guardian is backing. No sooner had Ed Miliband signed up to cut his own carbon emissions by 10%, than we were being told the whole Tory front bench were getting ready to endorse the pledge. Within 24 hours, the entire cabinet had also jumped on board and Liberal Democrats announced they were looking at moves to make this a resolution which would bind the whole party.

EDIT

I see the aforementioned Matthew Taylor is also musing on the positives of religion in his most recent blog.

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John Prescott responds: the tangled web

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Last week Matthew Taylor commented on John Prescott‘s new blog commenting on Matthew Taylor. I commented on Matthew Taylor’s comment, with the unoriginal observation that reading New Labour blogging was like watching your father dancing to hip hop. I see that John Prescott now commented on my comment… posting a video of himself set to drum and bass. 

The authority of old media is being eroded by the growth of new media. The problem for new media is how it can acquire the authority the old media once had. I’m not entirely sure this is the right way to go about it.

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