CCM: Prompt 6 / Mediating Changing Climates
Clark, T 2015, ‘Chapter One: The Anthropocene- Questions of Definition
’, in Ecocriticism on the Edge: The Anthropocene as a Threshold Concept, Bloomsbury Publishing, p.1-28.
Ecocriticism on the Edge: The Anthropocene as a Threshold Concept, authored by scholar Timothy Clark, breaks down Anthropocene and what meaning the term both means and withholds. Clark highlights the complexity of the term and relies greatly on the work of fellow academics to structure his description of the diverse and widely used term.
Clark acknowledges the complexity and diversity of the term Anthropocene, and reminds readers of the origin of the term. The ‘force’ of the term is most relevant to the impact of human activity and how it has ‘achieved an unprecedented and arguably dangerous intensity’ (pg 1). Clark goes on to illustrate how the term has shifted over time and place, these including ‘new contexts and demands – cultural, ethical, aesthetic, philosophical and political’ (pg 2).
Anthropocene lacks readability due to its constantly evolving definition. Clark encourages readers to consider that Anthropocene asks as to view life as ‘much broader scales of space and time’ (p.13). We affect the lives of those around us, whether they be in close proximity or not. The effects of climate change will not only last through our lifetimes, but of generations to come. Clark very much encourages us to realise just how connected we are to each other and the earth, and how deeply our actions impact the world around us.
Clearly demonstrated in his writing, Clark has great hope that the arts and media making continues to create that of an ‘eco-cosmopolitanism capable of uniting people across the world without erasing important cultural and political difference’ (pg 17). Clark pushes to unite art and culture with politics (pg 17). The idea of a ‘virtual’ crowd, to the eco-cosmopolitan (pg 17) suggests unity as a civilisation, to connect together, and connect to the planet. The Anthropocene has brought upon a sense of critical reflection, and Clark continuously refers back to the importance and significance of this self-reflection in our current climate.
The main ideas present in Clark’s writing include recognising the importance of imagination, connection to one another and the planet. Although acknowledging the power and strength art and creative work holds in a political climate, he also recognises its limitations. Overall, Clark is able to explore the diversity and different ideals and meanings the term Anthropocene holds. Although the concept can be complex and deeply intricate, Clark makes a clear attempt to break down each aspect of the definition in a more accessible and understandable way.
Hammond, P 2017, ‘Introduction: ‘Post-political’ climate change
‘ in Climate Change and Post-Political Communication: Media, Emotion, and Environmental Advocacy, Routledge, pp. 1-17.
Philip Hammond’s book Climate Change and Post-Political Communication: Media, Emotion, and Environmental Advocacy illustrates the relationship between media and the political climate. With a personal and anecdotal language, Hammond explores the possibility of seeing climate change as a ‘post-political’ (pg 3) issue.
Hammond firstly claims we’ve entered a ‘paradoxical situation’ in which we’ve created a society in which our adaptations and changes contour to the existing state we’re in (pg 2). Hammond questions the way we approach the discussion of climate change, and whether our representation of it is the cause of receptive issues. He writes ‘different discursive framing might be a way to politicise it rather than reinforcing depoliticisation’ (pg 2), brings forward a strong argument. Hammond continues to explore how tying these issues of framing intertwine with our emotional response. Together these create poor reception and lack of understanding and appropriately approaching climate matters.
Hammond’s consensus revolves heavily around society’s response to climate change, hence his exploration and mention of emotion and our issues with communicating climate matters. He goes on to explore how many in Western societies are not willing to shift from the normalities we’ve been accustomed to in our capitalist society.
Through various citing’s from authors such as Colin Crouch and Slavoj Žižek, Hammond explores how our capitalist society has allowed us to find comfort with the state we’re in, ‘boredom, frustration and disillusion have settled in’ (pg 4). Rather than striving to change, we’re learning to cope (pg 4). Hammond goes on to illustrate how our lack of action stems from the depoliticisation of climate change. We’ve come to a place of compromise, and we’re beginning to close off the possibility of change (pg 5).
Lastly, Hammond argues the significance of media in depoliticisation. The ability the media has to play with our emotions and strike a chord. Media has the responsibility to be affective, appealing to our sense of change and our emotions. The deep emotional connection is crucial. Using the words and work of scholar Susanne Moor, Hammond illustrates the importance of provoking the right balance of emotions (pg 11). As crucial as messages of climate change are, the emotions they’re provoking prove to be crucial in how the information is received and acted upon.
Hammond’s writing finds a balance in explaining the relationship between the media and emotions in the depoliticisation of climate change. The structure of the text offers an accessible and understandable path to understanding political and climate media through the past and in present day.
Nurmis, J 2016, ‘Visual climate change art 2005–2015: discourse and practice ’, Wiley Interdisciplinary Reviews: Climate Change, vol. 7, no. 4, p.501-516.
The focal point of Nurmis’ writing is to discuss and enlighten readers to the role art plays in a constantly evolving climate. Nurmis significantly remarks climate art’s ability to engage the public and adapt to changes in society and climate.
Nurmis greatly references the works and words of artists and fellow climate art academics to sculpt her work. Throughout her piece, she breaks down the strength and significance of art in the current climate. Nurmis argues art holds great power in society, stating ‘works open up portals of perception that invite us to rethink familiar ways of seeing global warming’. Arguably in modern society art is playing a deeper role in communicating climate knowledge, Norms quotes Brecht in referring to art as ‘a hammer to shape society with’, something that shapes and moulds how we perceive the issue.
Although art has great strength and power, Nurmis also acknowledges its weakness, in that in order to engage audiences, they still need to withhold their own motivation and care (pg 502). There are systematic problems in the way audiences receive artworks. Some question the credibility of climate art makers. Questioning their carbon footprint and their personal impact upon the environment (pg. 504).
Nurmis continuously reminds readers just how significant art is in discussing the climate. Art is powerful, emotive and especially in our current climate. Nurmis states ‘transformation will not be achieved through moral appeals, but only through a gradual re-colouring of the way we conceive quality of life and progress’ (pg. 505), she manages to perfectly encapsulate the essence of climate art and its purpose. Art ‘can ‘educate the senses’ themselves, providing a space for imagining what can be done and what the future will bring (pg. 505), art opens our minds to creativity in how we can progress and alter our societal structure. Art has an ability to reach audiences in a different way to that of the scientific and other communication fields, art can create ways for us to mitigate and adapt (pg. 505) creatively, and emotionally. Art opens up a greater emotional connection to climate change, allowing for deeper reflection and understanding about personal and systematic changes that need to be made.
Visual climate change art 2005-2015: discourse and practice, overall gives an in-depth explanation of the value of climate art in society, and how the reception of climate art can play a heavily crucial role in how climate information is received. Art has the ability to ‘bring emotion to science’ (pg. 505), and make room for emotional motivation towards a better earth. Art is a form of communication that we should not under-appreciate despite not always conventionally being political.