Guardian

Countdown to Copenhagen at Bristol’s Arnolfini gallery

Countdown to Copenhagen at the Arnolfini galleryThe 100 Days exhibition at the Arnolfini gallery in Bristol marks the countdown to the Copenhagen climate conference in December by hosting a series of exhibitions, performances and talks highlighting climate change, social justice and art and activism

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Video: Countdown to Copenhagen at Bristol’s Arnolfini gallery | Environment | guardian.co.uk .

Robert MacFarlane on literature that inspired action

There was a great article on Edward Abbey by Robert MacFarlane in the weekend’s Guardian.  [I’m inclined to superlatives here, as MacFarlane generously bigged up the RSA Arts & Ecology Centre and our fellow organisations TippingPoint, The Ashden Directory and Cape Farewell in the article].

Anyhow, to the point.

MacFarlane writes about how Abbey’s gloriously rambunctious novel Monkey Wrench Gang became the inspiration for the Earth First! environmental movement in the US, who set about turning Abbey’s fiction into non-fiction through a series of direct actions. Climate change, suggests MacFarlane,  requires not just a technological and political shift but a cultural one too – which is what Abbey’s writing set ablaze for the American conservation movement.

But then MacFarlane starts to ponder where that’s going to come from in relation to climate change. American authors, from Rachel Carson, Edward Abbey, Bill McKibben, Gary Snyder, Cormac MacCarthy and others have produced significant passionate works which have indeed had a galvanising impact on environmental movements. But where, he wonders, are the British equivalents? The British equivalents, he suggests, have an emotional distance which doesn’t “kick your arse off the page” in the way that Abbey’s prose does. But there’s something else too:

Perhaps the key ethical principle of British environmental literature has been that making us see differently is an essential precursor to making us act differently. So it is that each new generation of British environmental writers finds itself trying to design the literary equivalent of the “killer app”: the glittering argument or stylistic turn that will produce an epiphany in sceptical readers, and so persuade them to change their behaviour. I used to believe in the possibility of this killer app, both as a reader and a writer. But I’m increasingly unsure of its existence. Or, if it exists, of its worth. At least in my experience, environmental literature in Britain gets read almost exclusively by the converted to the converted, and its meaningful ethical impact is minimal tending to zero. As Vernon Klinkenbourg noted with glum elegance last year, most documents of environmental literature are “minority reports – sometimes a minority of one. The assumptions, the hopes, the arguments [of such literature] are contradicted by the way the vast majority of us live, and by the political and economic structures that determine that lifestyle … sceptical readers so seldom pick up this kind of writing, or submit to its evidence.”

The point is that Abbey’s fiction was in many ways hackneyed, fed by the cliche’s of the western pulp novel, but it was great because of the scope of its passion and the sureness of Abbey’s vision. In comparison, are European artists and writers just trying too hard to be clever? Does this create a kind of parochial vision that hobbles artists, blunting their chance of having the kind of impact Abbey did?

One of the things that I hope Arts for COP15 will be able to produce is some idea of how effective the various events are at doing what they all, presumably, set out to do, which us change minds.

Illustration: Robert Crumb-designed sticker for Edward Abbey’s book (1985).

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10:10 campaign launch: the video

Another hastily filmed Flipcam video. I am clearly no Franny Armstrong:

10:10 campaign launch, Tate Modern, London from RSA Arts & Ecology on Vimeo.

The strategy is to create enough of a mass movement to make people feel it’s OK to make changes in their life, and to give Ed M. the kick in the pants he requires to move forward. I’m not sure how successful the event was in achieving that. It was great to get the front page ofThe Guardian and a page in The Sun but because news of the event was sprung on most people yesterday, the event seemed a little thinly attended. It didn’t feel like the mass movement we need – not yet anway. It felt mostly like people a bit like me.

It’ll be interesting to see how many people have signed the pledge online…

[Takes a look]

6,472 so far. Less than one in ten thousand.

It may be early days, but given how well it was publicised, and the readership of media partners, The Sun and The Guardian, I would say that’s a little disappointing but I’ll leave the last word to the hardcore transitionist at the end who said, “When you see lots of other people getting involved it gives you confidence that you’re not a freak, you’re not out on your own.”

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10 ways of looking at Radical Nature

The critics pass judgement on  Radical Nature, at the Barbican and elsewhere:

PERCEPTIVELY Hari Kunzru The Guardian: Nature is in crisis… It’s not even really beautiful any more. It’s a problem, a remnant, something that needs to be conserved and argued for. The chances of being romantically overwhelmed are slim.

PROVOCATIVELY Regine Debatty We make money not art. As long as these artworks do not step out of museums and galleries most people hardly ever visit … , I fear that the impact of their work might be somewhat limited.

NEGATIVELY Edwin Heathcote, Financial Times: The show just doesn’t hang together. “Museums,” said Smithson, “are tombs, and it looks like everything is turning into a museum.” Forty years on, we’re still in the museum.

POSITIVELY Madeleine Bunting in The Guardian: On every side, artists are putting their shoulder to the wheel, trying to prompt the revolution in values and attitudes required to deal with environmental crisis.

ARTISTS SHOULD STICK TO ART-ISHLY Rachel Campell-Johnston, The Times. It’s all very worthy and often delightful… But do artists contribute anything practical?

THOUGHTFULLY Skye Sherwin in The Guardian: Francesco Manacorda, identifies… a dangerous dualism concerning how we think about nature and culture:.. but while many artists here lament the rift or attempt to close the gap, only a few explore its potential…

DEFEATEDLY Christopher Werth: Newsweek: That somewhat defeated tone pervades much of the newer work, which reveals little of the excitement[… ] found in the campaigns of Beuys and Ukeles. Perhaps that’s only natural after 40 years of environmental art, when for most of that time, so few have paid attention to the message.

ENTHUSIASTICALLY Throughstones blog: The Radical Nature project is an extremely important landmark exhibition, and groundbreaking in the degree to which it reaches out to the public and integrates with real life as it is lived. It will for sure have a far-reaching influence for many years to come.

OBTUSELY Rowan Moore The Evening Standard: Saving the planet is more to do with the Chinese changing the way they build power stations, or Americans changing the way they make cars, than anything an artist can do.

LOOK AT US, WE’RE CYNICAL AND ENVIRONMENTALISTS-ARE-ALL -FASCISTS ANYWAY-ISHLY Anorak.co.uk on the Tree Radical parade through central London: One man has painted his face and others are raising their arms in the air, in the manner of Moseley’s mob. The driver tells us that these are the Green Shirts not the fascist Black Shirts. Old Mr A says “same difference”.

Some are thoughtful, some are downright enthusiastic; some seem distinctly rattled, too.

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Quick Friday notes…

Transition Town innovator Rob Hopkins noted that Ed Miliband used the notion of “transition towns” a lynchpin concept in the launch of his White Paper on Energy and Climate Change Policy. Determined to discover whether his movement was being used as window dressing or not, he publishes his own review of the paper giving the proposals 6/10.

John Vidal at the Guardian has given it credit for seizing control of the levers of control of the energy industry, saying that this sort of thing has never been attempted on this scale before:

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Meanwhile, LA continues to surprise by confounding its image as a megalopolis on on the road to hell. This Arts:Earth Partnership initiative, greening the city’s performace spaces, is interesting.

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Madeline Bunting in today’s Guardian: the “quiet powerhouse” that is RSA Arts & Ecology

Radical Nature’s The Dalston Mill project

Radical Nature’s The Dalston Mill project

Madeleine Bunting’s article on the role of arts in changing perceptions about the environment kicks off by looking at Radical Nature’s The Dalston Mill project, and discusses new work Gustav Metzger and new thoughts from Tim Smit and gives a very warmly appreciated nod to the RSA Arts & …

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Radical Nature @ The Barbican reviewed

Skye Sherwin in The Guardian:

Even the remotest hermit knows that the effects of climate change are the greatest threat faced by mankind. So where does that leave artists? Can they contribute anything to debates about the environment? Might the imperatives of environmentalism constrain their freedom to make interesting work? And …
Go to RSA Arts & Ecology

Radical Nature @ The Barbican reviewed

Skye Sherwin in The Guardian:

Even the remotest hermit knows that the effects of climate change are the greatest threat faced by mankind. So where does that leave artists? Can they contribute anything to debates about the environment? Might the imperatives of environmentalism constrain their freedom to make interesting work? And …
Go to RSA Arts & Ecology