Future Climate Change

Future Climate Change
Edited by Mark Maslin, Samuel Randalls
Published August 15th 2011 by Routledge – 1,600 pages
ISBN 978-0-415-56981-1

In recent years, future climate change has increasingly been recognized as one of the most important issues of the twenty-first century, challenging the very structure of our global society. No longer just an abstruse scientific concern, it prompts difficult choices for both individuals and governments. Moreover, it is of the first importance to those working in disciplines such as climatology, engineering, economics, sociology, geopolitics, local politics, law, and global health.

Emanating from across the social and natural sciences, as well as in the humanities, serious scholarship on future climate change flourishes now as it has never done before, and this new title in the Routledge series, Critical Concepts in the Environment, meets the need for an authoritative reference work to make sense of a vast literature—and the continuing explosion in research output. Edited by leading scholars in the field, this new Routledge Major Work is a four-volume collection of foundational and cutting-edge contributions.

The first volume (‘Science’) in the collection deals with the development of the science of global warming and climate change, starting with Tyndall (1861), through to the IPCC synthesis (2007), and ending with the very latest research. Volume II (‘Impact Assessments’), meanwhile, assembles the best thinking on how the potential physical, biological, social-political, and economic impacts of climate change are assessed. This volume also includes material on potential surprises that science is starting to investigate, such as the rapid melting of the Greenland and Western Antarctic ice sheets, die back of the Amazon rainforest, release of gas hydrates, and other tipping points. The third volume (‘Politics and Solutions’) gathers the most influential research on climate-change solutions; it encompasses global and local politics, engineering, renewable energy, and geoengineering. The final volume in the collection (‘Framing the Debate’) brings together key scholarship to question and explore how the climate-change debate has been framed and reframed as a scientific, economic, security, health, development, geopolitical, ethical, and cultural issue.

With comprehensive introductions to each volume, newly written by the editors, which place the collected material in its historical and intellectual context, Future Climate Change is an essential collection destined to be welcomed as a vital research resource by all scholars and students of the subject.

includes: Chapter 27, R. Hamblyn and M. J. Callanan, ‘Of Exactitude in Science’, Data Soliloquies (Slade Press, 2009), pp. 23–43.

FutureEverything – Serendipity City (A Planetary Order)

FutureEverything, taking place 12-15 May in Manchester UK. Expect world premieres of astonishing artworks, an explosive citywide music programme, visionary thinkers from around the world, and awards for outstanding innovations.

Serendipity City: The FutureEverything 2010 main exhibition, featuring architecture-inspired art, a curated selection of city-drifting iPhone and Android apps, jaw-dropping data visualisations including Martin John Callanan’s A Planetary Order, and a selection of FutureEverything 2010 Award nominees. The venue is The Hive (47 Lever Street, Manchester M1 1FN), a spanking new Northern Quarter location.

FutureEverything

Lab for Culture: At Home in Europe overview

WHAT IS THE MAIN IDEA OF THE PROJECT AND WHO IS THE TARGET GROUP?

“The project invites selected artists to think about what it means to be European and what it means to have a particular nationality in the light of the shifting boundaries within Europe. Daily more and more European people decide to live in other European countries. With a shifting concept of nationalities it becomes increasingly important to consider what it means to be European.” (At Home in Europe Project)

Established through the process of differentiation toward the other, it has been reshaped in relation to changes in the environment, i.e. social, political, cultural or economic changes etc. The process of differentiation and identity transformations in the individual or collective sphere, on national or European levels, were depicted as artworks that formed the programme “At Home in Europe”.

WHAT DOES THE PROJECT INCLUDE?

Designed to meet the current need for mobility, to enable cross border connectivity and empower professional and cultural exchange, the “At Home in Europe” programme was developed using four main activities:

  • Production residencies for artists (took place during January to July 2007)
  • Selection of the films for the screening programme in the Big M (February 2007)
  • The Big M European tour: screening at a mobile venue (May to September 2007)
  • The publication and DVD, which sum up the outcomes of the project

The activities were followed or preceded by four working meetings of the coorganisers, each of which took place in one of four participating countries.

Residencies

Four artists, selected for their reflection on the project theme and the creative use of new technologies, spent three months in one of four participating organisations (InterSpace -Anya Lewin, UK; RIXC- Martin John Callanan, UK; BEK – Kriss Salmanis, Latvia; ISIS -Borjana Ventzislavova, Bulgaria).

Dislocated from their countries of origin/residence, they were in the position to quickly grasp the new environment and to give feedback to a framework question: “What is culturally European and what is culturally national when viewed from within Europe but outside a national experience.” Digital artworks, done in the form of video/sound/internet/or interactive art, are also available through blogs as a document of the work-in-progress.

To stimulate exchange of ideas and interaction with local communities, each artist had an opportunity to present her/his work, and to do a workshop for young people.

Big M

Co-curated screening programme in the Big M, focused on moving image culture. This project consisted of 16 short video works selected by the coorganisers on the basis of the international call. The video works thematised the notion of “European Identity” by posing the question “Can we ever really be At Home in Europe?”. They tracked the phenomenon of moving through different identities in the melting pot of contemporary Europe. The digests of the films are encompassed in pdf “Leaflet_at_home_in Europe” (see attached document).

Big M Tour

The Big M European screening tour was shown at festivals and public sites in Sofia, Stockholm, Bergen, Riga, Newcastle Upon Tyne, and Berwick upon Tweed during May-September 2007. Designed as inflatable structures equipped for presentation of video and digital media, The Big M provided a sight that blended different artistic surveys in the one cross cultural narrative. This attractive mobile venue brought an air of moving image festivity to the city squares across Europe tempting an audience to come inside, experience its content, and reflect on “What it means to be European?”.

“In Sofia we had on average each day around 1,000 people visiting the venue and a great deal of local press, television and radio coverage.” (Sharon Bailey, Co Director ISIS Arts)

Publication and DVD

The publication and DVD summarise the results of the project. The book (written in the four languages of the partners) includes essays on the project process, on the artists’ works, and on the issue of European identity. DVD includes media-based artworks that were part of the “At Home in Europe” programme.

WHAT IS THE REASON FOR THE COLLABORATION WITH EACH PARTNER?

Four partner organisations cooperated in this one-year project, all of them with the same professional orientation (working in the field of media arts), but from countries with different socio-political and cultural backgrounds (e.g. UK – established EU member; Latvia – recent EU member; Bulgaria – entered EU in January 2007; and Norway – decided against EU membership). This diversity provided a start up for transnational settings, but assured the variety of cross cultural approaches to the theme. International calls for artists were widely distributed.

HOW IS THE PROJECT FINANCED?

The project “At Home in Europe” was funded by the European Commission, Culture 2000 Fund, and Arts Council England.

Data Soliloquies

Data Soliloquies is a book about the extraordinary cultural fluidity of scientific data. A wide array of graphs, charts, computer models and other forms of visual advocacy have become inescapable fixtures of public science presentations, though they are often treated as if they were neutral ‘found objects’ rather than elaborate narrative constructions containing high levels of statistical uncertainty. Through a mix of essays and artworks, this witty and engaging book — the result of a collaboration between Richard Hamblyn and Martin John Callanan during their terms as writer and artist in residence at the UCL Environment Institute — examines the theatricality of scientific data display, while critiquing some of the poorly designed statistical wallpaper that surrounds so much public science debate.

ISBN 9780903305044 (January 2010)

Available for order on Sladepress.com

Reviews
Furtherfield, Pau Waelder

Eye of the Storm, Tate Britain and Arts Catalyst confernce

This two-day symposium brings together scientists, artists, social scientists and policy-makers to explore scientific controversy from an interdisciplinary perspective. From esoteric arguments over the structure of the universe to highly charged public controversies around the use of stem cells, Eye of the Storm will touch on brilliance and ego, dissent and whistle-blowing, big science, high finance, deviant science, the reliability of knowledge and the legislation of uncertainty.

Martin John Callanan as Artist in Residence at UCL Environment Institute, alongside Richard Hamblyn the Writer in Residence, will be presenting.

Organised in collaboration with and supported by The Arts Catalyst and Tate Britain in association with Leonardo/OLATS

Tate Britain Auditorium (booking required)
Friday 19 June 2009, 10.00–19.30
Saturday 20 June 2009, 10.00–17.30

Press release
Programme
Conference Abstracts

RSA review [archived version]:

UCL Artist in residence Martin John Callanan also offered a critique of
scientists use of graphs, also posing the question of whether the artist’s contribution was
best made via critique of scientific methodology. If it was more about the proposing of new
visions then that, too, was not artists territory alone.

Ice Balls

BJP ice balls

Boing Boing

Late last night I began hearing reports of strange icy objects in a part of east London (UK) commonly referred to as Victoria Park. It was too dark to investigate and the park was locked until this morning. At dawn I set out to investigate, having only just returned to my office, this is the first email I write. What I discovered was so strange and unusual the first step was to upload the documentation to my website and contact you as a matter of urgency.

Within what appeared to be a rather contained area of roughly 200 acres coinciding remarkably with the boundary of Victoria Park, I found and recorded more than 300 occurrences of what I refer to as “ice balls”. These are roughly spherical objects ranging from ~30cm to more than ~150cm diameter. For now, until more information becomes available to me, I must surmise these “ice balls” are similar in origin to hail. Perhaps this exaggerated scale is the latest phenomenon associated to our rapidly changing climate.

Martin has posted his documentation online.

Read more: British Journal of Photography and Boing Boing.

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