Making Connections

Walking over to the 4-H building this morning for the first-ever USO Sustainability Conference, I was captivated by what looked like a solar-powered aluminum-frame pirate ship--red sails flapping in the wind, solar panels outstretched to catch the early morning light--parked outside the center. Its relation to the proceedings was unclear--no explanatory signage--but it perched on the lawn as if it had just landed from some extraterrestrial expedition, a cross between the Kitty Hawk and a cyborg. At its heart, drawing power from the solar panels, was...an ice chest, stocked with popsicles.

Turned out to be the Trickster Project, brainchild of Ohio University's Duane McDiarmid, designed to turn up in various out-of-the-way hiking spots in the Southwestern deserts (Diablo Canyon, Antelope Island, the Yampa River), dispensing icy treats to weary travelers. We fell to talking about the place of art in the sustainability conversation, and the necessity of wit, whimsy and humor in enlivening visions of a green future ("It can't all be austerity and efficiency"). What art brings, Duane suggested, was the capacity for self-reflection and self-criticism embedded in an occasion for conversation, a way of gaining ironic perspective on the work of the angels.

Earth, Air, Fire, Water

Earth Day, 2010: Gathered at noontime outside Hopkins Hall, in the shadow of the Constitution Tree (a sycamore, growing in the 1780's), for conversation about "environmental art." I laid out three questions:

• What roles do you see (let's call it) environmental art playing in the world today?
• What role can a conversation about environmental art play in Columbus over the next two years?
• How can art (or: the arts) clarify and support OSU's commitment to sustainability

On the questions, first: "roles" are multiple, running from visual communication and illustration to vehicles of community-formation or renewal to expressions of anger and mourning. The work of art: to release imagination--intuition, empathy, affect, understanding--from its self-enclosure, from its attachment to habits grown meaningless or self-destructive, to glimpse new meanings on the horizon, new mythologies.

Information, Walter Benjamin tells us ("The Storyteller"), is the enemy of wisdom. Traditional wisdom, layered into stories that have gone from hand to hand, tells us "how to go on." Information shocks, leaving us none the wiser; today, we are awash in a rising sea of information, shocked but struggling. Appearing as information," our "environment" appears as an "issue"--already covered, already inscribed in controversy and power. Art can amplify our relation to "the issue," immerse us in, connect us to, facts we (or is it just you?) would rather avoid. And then?

"(Let's call it) environmental art": For some, "environmental art" is a historical label, taking us back to the 1970's, with Land Art and such. Do those labels get in the way? that is: are they part of the meaningless habits that art works to undo? Or might they have a special resonance today, resources for new ways of working? What if they were the ruins of a still-born civilization, a consciousness that never quite emerged? Could we look at them again?

"In the world today:" let's say, the climate for environmental art has changed. Let's say that, in our post-natural world, "the environment" has grown meaningless, even as the degradation of the earth's ecosystems proceeds apace, "Apocalypse as a Way of Life," as Frederick Buell puts it. Eaarth, Bill McKibben calls our "tough, new planet." What roles, what routes can art take? Recall, for instance, how reminiscent Land Art was of heroic modernism, with its extravagant scales. How are we to imagine now?

Like "the environment," "sustainability" is a parking lot, a place everyone uses but few of us linger. We can't do without it, but it's not exactly hospitable to our best thinking. It's paved with information from here to the horizon. So, what if we take it back to the elements? Orient ourselves to the fourfold: earth, air, fire, water? What could art disclose?

In our conversation, Michael Mercil brought up Jonathan Lear's book Radical Hope, subtitled "Ethics in the Face of Cultural Devastation." Lear's starting-point is a cultural dead-end, the collapse of the Crow nation's way of life: "When the buffalo went away the hearts of my people fell to the ground. ... After this nothing happened." How, then, did they go on? Reinventing themselves, reinventing what it meant to be meaningful. Lear focuses on the testimony of Plenty Coups, the Crow chief, steering his people toward a different way of being, a reinvented tradition.

Downsizing Nature

How reducing biodiversity impacts species size.

What the World Needs Now: Green Humor

Thanks to Andrew Revkin's Dot.Earth blog for linking to this cartoon site:

Rigorous Scientific Debate.

When the moment is right, the vision appears:

Vision for an eco-village at OSU, incubator for imagining a sustainable future.

On the Idea of Climate Change

Mike Hulme's Why We Disagree About Climate Change is by far the most thorough, engaging and thought-provoking survey of the contests around the global climate that I've read, a welcome antidote to the post-Copenhagen blahs. Hulme is a Professor of Climate Change at the University of East Anglia (home of the notorious "climategate" emails) and an advisor to the EU on climate change policy. But the book is something like a deconstruction of the concept of "climate change," turning repeatedly on the question, "So why DO we disagree" about this vexed topic. In brief: because we study, imagine, value, fear, believe, govern and understand differently.

Hulme takes pains to declare that he's not a climate skeptic--he thinks the dangers are all too real--so it's surprising to see him embrace a constructionist position in the end, one that calls for re-embedding the idea of climate into our "mythic" meaning-making narratives. In particular, he disputes the construction of climate change as a "problem" calling for a "solution:"

If we continue to talk about climate change as an environmental problem to be solved, if we continue to understand the climate system as something to be mastered and controlled, then we have missed the main lessons of climate change. If climate means to us only the measurable and physical dimensions of our life on Earth then we will always be at war with climate. Our climates will forever be offering us something different from what we want.
Rather than placing ourselves in a 'fight against climate change' we need a more constructive and imaginative engagement with the idea of climate change. (360-1)

Whatever we do, Hulme suggests, ACC (anthropogenic climate change) is not going to just go away: there is no end in sight. Let's make it an opportunity to think more deeply, creatively, wisely about life on earth.

Ten Sustainability Trends

The Post-Carbon Institute is in the process of evolving from a virtual to a real-world think-tank, drawing together some of the leading figures in the sustainability movement while making interesting use of new-media crowd-sourcing techniques.  Warren Karlenzig, one of PCI's Fellows, made some start-of-the-decade predictions here.  Among the trends he's watching:  the new biking culture, urban agriculture, drought preparations, resiliency planning, cellulosic biofuels, the use of ICT (information and communications technologies) to enhance sustainable cities.  Columbus has some skin in a number of these games, but my sense is that we're still hedging our bets.