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Scottish Oil Club knees up at National Museum of Scotland, Fri 8th March

March 7, 2019

This from Extinction Rebellion (XR) Edinburgh (and below how to find out more about Extinction Rebellion.

On Friday 8th March the Scottish Oil Club, an exclusive body representing the oil and gas industry, will hold their annual gala dinner at the . 890 fossil fuel industry leaders will celebrate the success of their trade and network to further its interests. This is fundamentally wrong. The fossil fuel industry poses an existential threat to life. Stopping them is an act of defence. On International Women’s Day we protest an industry which epitomises a dominating, violent, patriarchal system which oppresses women around the world. We want to disrupt the Scottish Oil Club Dinner and we want to have an even bigger party than they are having. We will hold a dance demonstration — we have a line-up of amazing musicians ready to bring us together to celebrate life, to throw a party driven by love and compassion rather than greed and profit. If you can help us make this incredible event happen, please send an email to Extinction Rebellion Edinburgh, indicating either “arrestable” (if you are ready to run SOME risk of arrest) or “non-arrestable” in the SUBJECT header. If you don’t’ sign up you won’t get the info about the preparations for the event.

Also see Fb and Tw

Extinction Rebellion – Introduction and Public Dialogue
11th March, 7 – 9pm

Quaker’s Meeting House, Victoria Terrace, Edinburgh EH1 2JL
Extinction Rebellion (otherwise known as XR) is a new movement, which recognises that the world faces an unprecedented global emergency of climate change and wider issues, from which governments are failing to protect us. XR appreciates that the environmental crisis is enmeshed with global economic injustice and that tackling inequality is central to taking action on climate change. 

On Monday the 11th, they are giving a talk on the current state of the climate crisis and how XR aims to tackle it at the Quaker’s Meeting House in Edinburgh. While originally organised to facilitate dialogue between Quakers and XR, this meeting is open to everyone and especially welcoming people from different faith groups to discuss where values overlap (e.g. non-violence, everyone and every part of everyone is welcome,..).

Programme:
7-8 pm: an introduction to XR – including an update on climate change, current Government policy, how XR plan to create a mass movement and how people can get involved

8-8.15 pm: short break

8.15-9 pm: questions from the floor / time for dialogue

Grassroots initiatives in climate change-adaptation for justice and sustainability

March 1, 2019

More on Adaptation. The Scottish Government Adaptation Programme does acknowledge the roles of communities (even if not culture and the arts)

ENTITLE blog - a collaborative writing project on Political Ecology

While climate campaigners organize direct action groups and city councils begin considering climate change an undeniable imperative in planning and policy, school strikers have launched the international platform School Strike 4 Climate. The support for local climate action around the world is growing and will not stop.                                                                                         

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From Climate Cultures: Paul Michael Henry on UNFIX

February 28, 2019
UNFIX 2019
Image: Henrik Knudsen © 2019

From Climate Cultures: Paul Michael Henry, artist and artistic director of UNFIX, writes about UNFIX 2019 in Glasgow (29-31 March).

“… People keep mis-labelling it ‘Unfixed’ or ‘The Unfix’ but it’s UNFIX: a command form. A verb and activity.

A loosening, disburdening, freeing-up. Anti-fatalistic, with the assumption that it doesn’t have to be like this. I experience climate change as a terrible affirmation: we cannot treat each other, ourselves and our surroundings this way. We can’t walk around with these egos functioning the way they do, and live.”

Read the rest of the blog.

ecoartscotland has commissioned Christiana Bissett to report from the Festival. More to follow.

Agriculture and aquaculture, but no culture

February 20, 2019
Newton Harrison, The Deep Wealth of this Nation, Scotland (2018). Detail: one of ten panels.

The Scottish Government recently published Climate Ready Scotland: Scottish Climate Change Adaptation Programme 2019-2024 A Consultation Draft – the consultation is open through 9th April 2019.

The focus of this work is on adaptation rather than mitigation.

As Ben Twist of Creative Carbon Scotland explained, mitigation is carbon reduction. Adaptation is about responding to the impacts of climate change: how do we change what we do and how we do it to deal with the changes and uncertainties of global warming? There are practical changes and behavioural changes. Some ‘adaptation’ measures ensure that infrastructure (eg energy and transport) can cope, and other actions are encouraging significant changes to farming practices. Community action is an important aspect too. Given this range it is surprising that culture only features as an aspect of heritage, and the arts don’t feature at all.

The survey is pretty specifically geared around professionals already directly involved in adaptation work engaging with technical questions of programme design. It might be more effective for people from culture and the arts to write letters outlining our role, giving specific examples of relevant work – projects and ways of working. There is an email address climatechangeadaptation@gov.scot.

ecoartscotland has regularly highlighted artists’ and organisations’ work on climate change, or as Helen Mayer Harrison (1927-2018) and Newton Harrison (b. 1932) conceptualised it, ‘The Force Majeure’.

Like an oncoming storm front, the Force Majeure is a fluid frontier; a frontier of heat moving across the planet; a frontier of water advancing on lands; a frontier of extinctions touching all lives. It is a frontier from which we retreat, yet within which we must also adapt.

Center for the Study of the Force Majeure website

The consultation document opens with the following statement from Roseanna Cunningham, Cabinet Secretary for Environment, Climate Change and Land Reform,

Adapting to the changing climate will both help to create a better society for everyone who lives here and unlock Scotland’s immense potential as a nation.

Climate Ready Scotland

It goes on to say,

I want the second Adaptation Programme to deliver a step change in collaboration, and emphasise the wider co-benefits of climate action.

In an essay a few years ago the Harrisons said,

We hold that every place is telling the story of its own becoming, which is another way of saying that it is continually creating its own history and we join that conversation of place.

‘Knotted ropes, rings, lattices and lace: Retrofitting biodiversity into the cultural landscape?’ in Barthlott, Wilhelm and Matthias Winiger, eds., Biodiversity: A Challenge for Development Research and Policy. Berlin, Heidelberg, New York: Springer-Verlag, p. 14.

Working with The Barn in Aberdeenshire, Newton Harrison and his colleagues from The Center for the Study of the Force Majeure have been developing The Deep Wealth of this Nation, Scotland, a vision which specifically sets out to imagine Scotland as the first industrialised nation to put back more into the web of life than it takes out. The vision focuses on farming, agriculture and aquaculture (in particular lagoons), and frames these within a ‘Commons of Mind’ – the need for recognition of the prima facie need to adapt in the face of the Force Majeure.

The Barn invited the Harrisons and the Center for the Study of the Force Majeure to Aberdeenshire because of the floods along the river Dee in 2016 caused by Storm Frank. The resulting discussions with the James Hutton Institute and Scottish Rural University Colleges, supported by SEFARI funding, highlighted holistic approaches addressing the settlement, the watershed and the nation. Connections have been drawn to work in other small nations including Sweden and Taiwan and the work has been exhibited in Scotland and in the Taipei Biennial.

The Cabinet Secretary’s ambitions for the Adaptation Programme to produce ‘a more just society’ are critical. The problem is that the Programme does not address the fundamental reimagining required for humans to give back more to the web of life than we take out.

For instance, the Consultation document says of ‘Climate Change Adaptation Behaviours’,

This is where individuals and organisations change their behaviour to help increase their resilience to, and reduce the severity of, negative consequences of climate change.

Climate Ready Scotland

What is missing is actively strengthening the web of life by choosing to, for instance, grow biodiversity, not just in fragments, but comprehensively. So in changing farming it is not enough to simply plant a few more trees and allow for spreading of waters if that doesn’t tackle the ‘agricultural extinction’ that is monocultural farming. Intelligently greening settlements needs to achieve massively greater and connected (not fragmented) biodiversity, which in turn might provide human benefits in terms of edible landscapes (see for example the work of Dundee Urban Orchard and Loughborough University’s Eat Your Campus – both of which are artist-led) and more engaged, interconnected communities while at the same time reducing the impact of heatwaves on urban environments. The Deep Wealth calls for holistic thinking that puts the web of life first.

Co-incidentally there is a piece in Arts Professional from Judith Knight, quoting Amitav Ghosh’s book The Great Derangement,

“When future generations look back upon the Great Derangement, they will certainly blame the leaders and politicians of this time for their failure to address the climate crisis. But they may well hold artists and writers to be equally culpable – for the imagining of possibilities is not, after all, the job of politicians and bureaucrats.”

(p. )

The Harrisons provide a compelling vision for a different way of living, focused by the need to adapt to The Force Majeure.

There are a number of projects across Scotland which specifically address adaptation, in addition to The Deep Wealth. The Stove’s We Live With Water raises questions about how to live with regular flooding, questioning conventional flood defence approaches. Matt Baker described it as,

…an alternative approach and try to imagine a future where increased rainfall, sea-levels and river surges would be seen as an opportunity. We tried to imagine Dumfries as River Town…. a place that embraced its environment… a place that Lives With Water.

The Stove website

Cooking Sections’ ongoing project Climavore, which was developed in collaboration with Atlas Arts on Skye specifically addresses ‘eating as climate changes’. They say,

“It sets out to envision seasons of food production and consumption that react to man-induced climatic events and landscape alterations.”

Climavore website

Projects in other places such as Eve Mosher’s High Water Line in New York City, featured in Creative Carbon Scotland’s Library of Creative Sustainability, draw attention to the impact of storm surges which will become more frequent as global warming accelerates.

Community Energy focused initiatives including Land Art Generator Glasgow go beyond simple mitigation (carbon reduction) to envisage community owned energy production and local grids for urban contexts.

Arts projects which address climate change, whatever the focus, almost always involve collaboration with scientists and engineers and engage with communities – interdisciplinary and participatory. A recent paper, ‘Raising the Temperature’: The arts in a warming planet (Galafassi et al 2017 Current Opinion in Environmental Sustainability, 31:71–79) highlights that art addressing climate change has grown nearly 20-fold over the ten years they reviewed.

Creative Carbon Scotland’s continuing programme of Green Tease events builds networks, and its new Creative Europe funded Cultural Adaptations project brings artists into working with Sustainability and Adaptation focused organisations.

Even the Scottish Government’s Scottish Energy Strategy: The future of energy in Scotland (2017) says,

We will explore, through the development of a Culture Strategy for Scotland, ways that Scotland’s culture sectors and creative industries can help communities imagine a green future, and to help us all adapt to the changes and opportunities.

(p. 13)

So why does the Adaptation Programme talk about agriculture and aquaculture, but not culture or culture change? Where are the arts? The word culture literally doesn’t appear… (The Heritage sector is significantly represented and is a key stakeholder in the Adaptation Programme.)

It’s a consultation – submit your work and experience – tell them what you do and who it connects with – email it to them at climatechangeadaptation@gov.scot. Tweet it tagging @ecoartscotland and @CultureAdapts and also @ScotGovClimate

Adriana Ford #art4wetlands on WetlandLIFE at RamsarCOP13

February 2, 2019

Flamingoes on the Ras Al Khor wetlands with Dubai's skyline in the background. Photo: Adriana Ford

Flamingoes on the Ras Al Khor wetlands with Dubai’s skyline in the background. Photo: Adriana Ford

For World Wetlands Day, Adriana Ford reports on the WetlandLIFE project’s side event at the Ramsar Convention on Wetlands in Dubai and how it was received. Highlighting the various contributions (on the Community Voice Method and by two of the artists Victoria Leslie and Kerry Morrison), Adriana goes on to report on the responses from the audience (who ‘got’ what the arts and cultural value focused approaches had to offer).


If you were to ask any wetland expert what is the conference to attend for connecting to global wetlands networks, it will most likely be the Ramsar Convention COP (Conference of Parties). It’s like the wetlands version of the UN Climate Change Conference which happens each year (typically making the news), as delegates from governments and other organisations from across the world gather to discuss and make decisions on the issues facing wetlands. The Ramsar Convention on Wetlands may not be quite as well-known, but it is the oldest of all the modern global intergovernmental environmental agreements, adopted in 1971 in the Iranian city of Ramsar (coming into force in 1975), with an impressive 170 Contracting Parties.

The Ramsar Convention states its mission as,

“the conservation and wise use of all wetlands through local and national actions and international cooperation, as a contribution towards achieving sustainable development throughout the world.”

It provides a framework for wetland management and protection at a global to local scale, including the designation of protected “Ramsar sites”. Every three years, the COP – the decision-making body made up of the governments that are the Contracting Parties to the Convention – meets in a different country, to assess progress and to make decisions about how to improve the processes and implementation of the Convention. The most recent COP (COP13) met in Dubai in the United Arab Emirates, from 21st-29th October 2018.

It’s the first time I’ve been to a COP, but for a long while I’ve been curious about how they work and what’s involved. What I did know was that the Ramsar COP13 offered a unique and significant opportunity for WetlandLIFE to internationalise our impact and to make important new connections.  WetlandLIFE is a three year multi-institutional research project funded by the Valuing Nature Programme, exploring narratives and values around wetlands, particularly from a health and wellbeing perspective, and also the role of mosquitoes within this. Our research is focused in England, but our interdisciplinary approaches and findings have far broader applicability. So, I applied for a competitive place to host a “side event” at the conference. Held at lunchtimes and in the evenings of the COP, in between the plenary discussions, these side events provide an opportunity for organisations to present and discuss ideas and projects to the most relevant and global audience of wetland practitioners and experts that you could ask for.

We had been allocated a 75 minute slot on the penultimate day of COP13, for our session titled, ‘Sense of Place & Wellbeing in Wetlands: Using Film and the Arts to achieve SDG3’.  After arriving a few days early to navigate the COP and attend other side events (and of course, to promote our own!), I was joined by a small team, comprised of two of our WetlandLIFE artists, Victoria Leslie and Kerry Morrison; Chris Fremantle – a researcher, artist and cultural historian and advisor to WetlandLIFE; and Dave Pritchard – a freelance environmental consultant with extensive experience of the Ramsar Convention, who is also Coordinator of the Ramsar Culture Network.

Together, our aim was to exemplify and discuss ways that the arts, humanities and social sciences can be used either individually or alongside other disciplines to work towards Sustainable Development Goal 3 – Good Health and Wellbeing – for wetlands, particularly through sharing our experiences from WetlandLIFE.  I introduced our audience to Community Voice Method, a social sciences approach which uses filmed interviews as a way of bringing together different experiences and perspectives in an engaging way. When we screen our short films in the spring, they will act as a catalyst for further discourse and deliberation on wetland values and management. Our artists also introduced their work, from poetry and creative writing, to mosquito caravans and bird hides as creative hubs, as ways to both understand and create value and connectivity around wetlands and nature.

Our session was well attended, with representation from at least 12 countries in our audience, from the Middle East, Africa, The Americas, Europe and Asia, and we were fortunate to count two members of the Ramsar Secretariat amongst them. I think it would be fair to say we were prepared to justify our approaches of using the arts, imagining our audience to be potentially sceptical about its value for practical wetland management.  The response, however, was much to the contrary.

The enthusiasm for our approaches was clear and came from all sides. Paraphrasing a few comments from the discussion,

“for many years Ramsar has tried to convince people to save wetlands based on wildlife; then they tried economic values. But this [arts and culture] works. Getting people to think about how they value wetlands is what’s needed,”

and, “Until we can translate cultural values into resolutions we are going to struggle, and this is at the core,”

and quite enthusiastically, “We need to multiply this project [WetlandLIFE] everywhere!”

What became apparent from the discussions was that far from cultural values (and approaches of tapping into those) being considered a luxury afforded only to university projects such as ours, they are recognised as having a crucial role to play in Ramsar, because despite the many successes, wetlands across the globe continue to be degraded and destroyed, and new approaches are required. The idea of tapping into the hearts of people – communities, and indeed decision-makers – through creative and visual approaches may be part of what’s needed to help protect these hugely important, but often overlooked, ecosystems.

The experiences we gained from hosting our session at the Ramsar COP has been reassuring and motivating. We are keen now to build upon this momentum, with plans to take forward the discussions this year with key organisations and networks including Defra and the Ramsar Culture Network. We will be thinking about how cultural values and approaches can be better embedded into the Convention, and from our perspective, how WetlandLIFE can contribute to this, with the hope that somehow we can make a difference on the international stage.

Flamingoes feeding on the Ras Al Khor wetlands in Dubai, UAE. Photo: Adriana Ford


Dr Adriana Ford is a Research Fellow in Environmental Social Sciences at the University of Greenwich, and Coordinator of the Greenwich Maritime Centre.

Please email a.ford@gre.ac.uk for more information, and download the presentation Presentation Ramsar COP13 WetlandLIFE

Adriana works on various aspects of the human dimensions of  environmental management and conservation, including human-nature relationships, cultural values, wellbeing, and sustainable development.  She is currently working on WetlandLIFE, an interdisciplinary Valuing Nature project exploring the values of wetlands from a health and wellbeing perspective. She has also worked on projects exploring linkages between small-scale fisheries and responsible tourism, and has a broad interest in marine and coastal environments through her role in the Greenwich Maritime Centre.

Prior to Greenwich, Adriana worked as a teaching and research fellow at University of York, where she was also awarded her PhD on invasive species management in Australia. Adriana has also worked in Tanzania for a sustainable forestry initiative, and has an MSc from Imperial College London, and a BA(Hons) from the University of Cambridge.

Creative Carbon Scotland Embedded Artist #artopps

December 12, 2018

opportunity-cultural-adaptations-seeks-embedded-artist-800x450

Creative Carbon Scotland is the lead partner in an EU-funded project Cultural Adaptations. As part of this we are seeking an experienced artist to be ‘embedded’ within and to influence the work of Climate Ready Clyde as it develops and implements a climate change adaptation strategy for Glasgow City Region.

Deadline 5pm on Friday 11th January 2019.

This is an exciting, paid opportunity for an artist or cultural practitioner interested in exploring the role the arts can play in shaping how our society adapts to the impact of climate change. It offers the chance to participate in an action-research project taking place at the European level, and contribute new knowledge to the local and international sector.

Read more and download the Brief.

Creative Carbon Scotland’s Library of Creative Sustainability.


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