Posts Tagged ‘Creative Carbon Scotland’

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

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.

Creative Sustainability

October 15, 2018

I don’t know how many people listened to the Moral Maze on Radio 4 on Wednesday evening (10th October)? In the week of the IPCC report saying we have 12 years before we go through the 1.5 degrees of global warming threshold, the programme brought together a debate on the moral implications.

The debate was framed in terms of the competing moral goods between future generations and developing countries, both of whom will disproportionately suffer the impacts of climate breakdown.

The first three witnesses broadly focused on economics and in particular the question ‘Is growth the problem or the solution?’ Can we grow and innovate our way out of the problem (Leo Barasi)? Or do we need to fly less, eat less meat and generally change our lifestyles to be more sustainable and less consuming (George Monbiot)? One of the issues underlying the discussion is the role of ‘progress’. Progress has generated global warming but it has also resulted in longer life spans, lower infant mortality, and more developed countries pay more attention to the environment.

The final speaker was Charlotte Du Caan from the Dark Mountain project to open up the cultural dimension. The panelists mostly agreed with the Dark Mountain manifesto, except the end of this sentence,

We do not believe that everything will be fine. We are not even sure, based on current definitions of progress and improvement, that we want it to be.

The panelist interpreted the Dark Mountain project as having a death wish, to be nihilist, rather than to be opening up a fundamental question of culture. Somehow the fundamental point got lost: ‘Do we want to continue with a culture that promotes individualism that results in endemic mental health problems?’ or ‘Do we want to live in a culture that promotes unlimited consumption of for example fashion, making fashion one of the most polluting and destructive industries?’ or ‘Do we want a culture that disconnects us from the rest of the living world?’

Actually the economic/progress argument is the wrong argument and the cultural argument was not fully grasped in the debate (although at least the cultural dimension was recognized as relevant).

So Creative Carbon Scotland has just launched its Library of Creative Sustainability. Creative Carbon Scotland is one of the organisations who are saying culture has a central role in addressing the environmental crisis in all its dimensions – climate breakdown, pollution, extinction…

The projects highlighted in the Library are all artists working with organisations long term on specific issues in specific contexts. To pick just one example, SLOW Clean UP involves artist Frances Whitehead, Chicago City Council and various University Science Departments working together on cleaning up petroleum pollution in the middle of communities in Chicago by creating gardens. Using plants which have specific capacities (hyperaccumulators) to suck up the pollution, the project cleaned up the test site, identified a significant number of new plants, as well as involving communities in their own environmental health. In the US whilst this approach is known and understood, unless the land has significant economic value, no-one bothers.

What is important is that this is not a binary debate on growth and progress, but rather cultural change towards a different set of values.

All the projects in the new Library demonstrate approaching challenges differently, creative innovations, and involving people in their own places produces new values that are more sustainable.

Have a look at the way artists are ’embedding’ themselves in organisations and contexts to work long term.

This project is supported by ecoartscotland and Gray’s School of Art, Robert Gordon University through an Interface Innovation Voucher.

Culture Conversation – Culture and Climate Change

November 28, 2017

The Scottish Government is currently involved in ‘early engagement’ on a new Cultural Strategy for Scotland.

In early November, Creative Carbon Scotland hosted a discussion as part of the Scottish Government’s consultation on the development of a new Culture Strategy for Scotland.

Joined by arts and sustainability practitioners working across a range of contexts, we focused on the connections between culture and climate change and the role of the arts in wider society, particularly in relation to environmental sustainability.

We convened the meeting around three key questions, relating the Scottish Government’s Culture Conversations questions to the issue of climate change. We also provided an online survey for those who were unable to participate in the event, some of the points from which are also included here.

The discussion focused on three questions:

  • What do you perceive as the role of arts and culture in contributing to a more sustainable Scotland at individual, organisational and strategic levels?
  • What are key examples of good practice and opportunities for new collaborations across cultural and sustainable sectors?
  • What are the priority areas to further the role of culture in bringing about transformational change to a more sustainable Scotland?

To read the key points from the meeting visit the Creative Carbon Scotland website.

culture/SHIFT ¦ two cities, two challenges

March 17, 2017

Creative Carbon Scotland’s culture/SHIFT programme has two events specifically focused on key issues for cities – Aberdeen and Glasgow:

  1. What can be done in post-industrial North Glasgow?
  2. How to speed up post-fossil fuel Aberdeen (i.e. move postively to the post-industrial)?

Aberdeen Green Tease: Cultural Practices in a Post-Fossil Fuel Aberdeen

with Nuno Sacramento (Director, Peacock Visual Arts) & Dr Leslie Mabon (Sociologist, Robert Gordon University)

Date Monday 20th March, 18:00 – 20:00

Venue: The Lemon Tree, 5 West North Street, Aberdeen, AB24 5AT

How can cultural practices address a post-fossil fuel future? Join Nuno Sacramento and Dr Leslie Mabon during Aberdeen Climate Week for a special conversation addressing the intersections between culture and sustainability in Aberdeen. Nuno and Leslie will discuss with the Green Tease network key questions about Aberdeen’s future social, economic and environmental sustainability, and the role of art and art institutions in creating an independent framework for addressing these concerns. Read more and register here.

 

Glasgow Green Tease: Whatever the Weather: Being Climate Ready in North Glasgow

Date: Wednesday 29th March, 18:30 – 20:30

Venue: The Grove Community Centre, 182 Saracen St, Glasgow, G22 5EP

What are the challenges and opportunities associated with climate change in North Glasgow? How can cultural practitioners contribute to climate change engagement strategies within the city’s communities and more widely? During this Green Tease we’ll be joined by the Glasgow Centre for Population Health and multi-disciplinary collective ice cream architecture to learn about the ‘Whatever the Weather’ engagement project in North Glasgow, exploring how communities can become more prepared and stronger in the face of climate change. We’re keen to use this opportunity to share experiences and learn from others working in similar engagement and intervention initiatives throughout the city. Read more and register here.

We need a Percent for Art for Energy

June 18, 2016

Elizabeth Monoian and Robert Ferry, Directors of the Land Art Generator Initiative, reflect on another aspect to emerge from the ‘Beautiful Renewables’ workshop hosted by Creative Carbon Scotland.

Cities that recognize the value of arts and culture have long benefited from percent for art programs. It has become expected (and in many cases required) for large-scale development projects to invest at least 1% in the arts, especially when there is public funding involved, either by bringing an artist onto the project team to produce a local outcome, or by investing in a fund that is pooled for larger projects throughout the city.

As we increase our focus on large-scale environmental and climate design solutions—resilient infrastructures, environmental remediation, regenerative water and energy projects—it is high time that a similar percent for art requirement be placed on these projects as well. This simple policy standard would bring great benefit to communities that otherwise find themselves left out of the process. Even when their net benefit to the environment is clear, if these projects have not been considered from a cultural perspective, they risk being ignored at best. And at worst they risk alienating the public and sparking push-back against similar future projects.

Involving artists in the process can instead deliver a more holistic approach to sustainability that addresses social equity, environmental justice, aesthetics, local needs, and other important cultural considerations. As we have said from the founding of LAGI in 2008, “sustainability is not only about resources, but it is also about social harmony.”

More…


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