Human/nature

Was the climate crisis inevitable? For the Financial Times, 13 September 2019

Everything living is dying out. A 2014 analysis of 3,000 species, confirmed by recent studies, reveals that half of all wild animals have been lost since 1970. The Amazon is burning, as is the Arctic.

An excess of carbon dioxide in the atmosphere, meanwhile, has not only played havoc with the climate but also reduced the nutrient value of plants by about 30 per cent since the 1950s.

And we’re running out of soil. In the US, it’s eroding 10 times faster than it’s being replaced. In China and India, the erosion is more than three times as bad. Five years ago, the UN Food and Agriculture Organization claimed we had fewer than 60 years of harvests left if soil degradation continued at its current rate.

Why have we waited until we are one generation away from Armageddon before taking such problems seriously?

A few suggestions: first, the environment is far too complicated to talk about — at least on the tangled information networks we have constructed for ourselves.

Second, we’re lazy and we’re greedy, like every other living thing on the planet — though because most of us co-operate with each other, we are arguably the least greedy and least lazy animals around.

Where we fall down is in our tendency to freeload on our future selves. “Discounting the future” is one of our worst habits, and one that in large part explains why we leave even important, life-and-death actions to the last minute.

Here’s a third reason why we’re dealing so late with climate change. It’s the weirdest, and maybe the most important of the three. It’s that we know we are going to die.

Thinking about environmental threats reminds us of our own mortality, and death is a prospect so appalling we’ll do anything — anything — to stop thinking about it.

“I used to wonder how people could stand the really demonic activity of working behind those hellish ranges in hotel kitchens, the frantic whirl of waiting on a dozen tables at one time,” wrote Ernest Becker in his Pulitzer-winning meditation The Denial of Death in 1973.

“The answer is so simple that it eludes us: the craziness of these activities is exactly that of the human condition. They are ‘right’ for us because the alternative is natural desperation.”

Psychologists inspired by Becker have run experiments to suggest it’s the terror of death that motivates consciousness and all its accomplishments. “It raised the pyramids in Egypt and razed the Twin Towers in Manhattan,” is the memorable judgment of the authors of 2015’s best-selling book The Worm at the Core.

This hardly sounds like good news. But it may offer us, if not a solution to the current crisis, at least a better, healthier and more positive way of approaching it.

No coping mechanism is infallible. We may be profoundly unwilling to contemplate our mortality, and to face up to the slow-burn, long-term threats to our existence, but that anxiety can’t ultimately be denied. Our response is to bundle it into catastrophes — in effect to construe the world in terms of crises to make everyday existence bearable.

Even positive visions of the future assume the necessity for cataclysmic change: why else do we fetishise “disruption”? “The concept of progress is to be grounded in the idea of the catastrophe,” as the German philosopher Walter Benjamin put it.

Yes, we could have addressed climate change much more easily in the 1970s, when the crisis wasn’t so urgent. But the fact is, we’re built for urgent action. A flood. A drought. A famine. We know where we are in a catastrophe. It may be that our best is yet to come.

Will our best be enough? Will we move quickly and coherently enough to save ourselves from the catastrophes attendant on massive climate change? That’s a hard question to answer.

The earliest serious attempts at modelling human futures were horrific. One commentator summed up Thomas Malthus’s famous 1798 Essay on the Principle of Population as “150 pages of excruciatingly detailed travellers’ accounts and histories . . . of bestial life, sickness, weakness, poor food, lack of ability to care for young, scant resources, famine, infanticide, war, massacre, plunder, slavery, cold, hunger, disease, epidemics, plague, and abortion.”

Malthus, an English cleric driven up the wall by positive Enlightenment thinkers such as Godwin and Condorcet, set out to remind everybody that people were animals. Like animals, their populations were bound eventually to exceed the available food supply. It didn’t matter that they dressed nicely or wrote poetry. If they overbred, they would starve.

We’ve been eluding this Malthusian trap for centuries, by bolting together one cultural innovation after another. No bread? Grow soy. No fish? Breed insects. Eventually, on a finite planet, Malthus will have his revenge — but when?

The energy thinker Vaclav Smil’s forthcoming book Growth studies the growth patterns of everything from microorganisms to mammals to entire civilisations. But the Czech-Canadian academic is chary about breaking anything as complicated as humanity down to a single metric.

“In the mid-1980s,” he recalls, “people used to ask me, when would the Chinese environment finally collapse? I was writing about this topic early on, and the point is, it was never going to collapse. Or it’s constantly collapsing, and they’re constantly fixing parts of it.”

Every major city in China has clean water and improving air quality, according to Smil. A few years ago people were choking on the smog.

“It’s the same thing with the planet,” he says. “Thirty years ago in Europe, the number-one problem wasn’t global warming, it was acid rain. Nobody mentions acid rain today because we desulphurised our coal-fired power plants and supplanted coal with natural gas. The world’s getting better and worse at the same time.”

Smil blames the cult of economics for the way we’ve been sitting on our hands while the planet heats up. The fundamental problem is that economics has become so divorced from fundamental reality,” he says.

“We have to eat, we have to put on a shirt and shoes, our whole lives are governed by the laws that govern the flows of energy and materials. In economics, though, everything is reduced to money, which is only a very imperfect measure of those flows. Until economics returns to the physical rules of human existence, we’ll always be floating in the sky and totally detached from reality.”

Nevertheless, Smil thinks we’d be better off planning for a good life in the here and now, and this entails pulling back from our current levels of consumption.

“But we’re not that stupid,” he says, “and we may have this taken care of by people’s own decision making. As they get richer, people find that children are very expensive, and children have been disappearing everywhere. There is not a single European country now in which fertility will be above replacement level. And even India is now close to the replacement rate of 2.1 children per family.”

So are we out of the tunnel, or at the end of the line? The brutal truth is, we’ll probably never know. We’re not equipped to know. We’re too anxious, too terrified, too greedy for the sort of certainty a complex environment is simply not going to provide.

Now that we’ve spotted this catastrophe looming over our heads, it’s with us for good. No one’s ever going to be able to say that it’s truly gone away. As Benjamin tersely concluded, “That things ‘just go on’ is the catastrophe.”

Lost in the quiet immensities

Watching Aniara for New Scientist, 7 September 2019

In the opening sequence of the Swedish sci-fi film Aniara, a space elevator rises into low earth orbit to meet an interplanetary cruiser, bound for new settlements on Mars. (The Earth, pillaged to destruction by humanity, is by now literally burning.)

But when we cut to its interior, the elevator turns out to be, well, a night bus. A tight focus on lead actress Emelie Jonsson, staring out a misted-up window into the featureless dark, accentuates, rather than conceals, the lack of set.

The interplanetary cruiser Aniara is a pretty decent piece of model work on the outside but on the inside, it’s a ferry. I know, because work for New Scientist once had me sailing down the coast of Norway on board the same vessel, or one very like it, for an entire week.

Have writer-directors Pella Kagerman and Hugo Lilja turned out a film so low-budget that they couldn’t afford any sets? Have they been inept enough to reveal the fact in the first reel?

No, and no. Aniara is, on the contrary, one of the smartest movies of 2019.

Aniara’s journey to Mars is primarily a retail opportunity. Go buy some duty-free knits while your kids knock each other off plastic dinosaurs in the soft-play area. Have your picture taken with some poor bugger on a minimum wage dressed as large, stupid-looking bird. Don’t worry: in a real crisis, there’s always the pitch-and-putt.

When the worst happens — colliding with a piece of space debris, the Aniara is nudged off course into interstellar space with no hope of return or rescue — the lights flicker, someone trips on some stairs, a couple of passengers complain about the lack of information, and the hospitality crew work the mall bearing complementary snacks.

“Transtellar Cruise Lines would like to apologize to passengers for the continuing delay to this flight. We are currently awaiting the loading of our complement of small lemon-soaked paper napkins for your comfort, refreshment and hygiene during the journey.”

Not Aniara, this, but a quotation from Douglas Adams’s peerless radio tie-in novel The Restaurant at the End of the Universe, to which Aniara serves as a particularly bleak twin. Don’t think for a moment this is a film without humour. There’s a scene in which the captain (played with pitch-perfect ghastliness by Arvin Kananian) reassures his castaway passengers that rescue is imminent while playing televised billiards. Balls and pockets; planets and gravity wells. It’s every useless planetary mechanics lecture you’ve ever suffered through and you realise, watching it, that everyone is doomed.

“They awoke screaming and clawing at their straps and life support systems that held them tightly in their seats.” (Adams again, because I couldn’t resist, and besides, it’s as good a summation as any of where Aniara is headed.)

Not only will there be no rescue. It begins to dawn on our heroine, Mimaroben (a sort of ship’s counsellor armed with a telepathic entertainment system that (you guessed it) kills itself) that there there is no such thing as rescue. “You think Mars is Paradise?” she scolds a passenger. “It’s cold.” May as well be here as there, is her conclusion. Death’s a waiting game, wherever you run.

Aniara is based on a long narrative poem by the Nobel laureate Harry Martinson, and the sci-fi writer Theodore Sturgeon, reviewing a 1964 American edition of the poem, said it “transcends panic and terror and even despair [and] leaves you in the quiet immensities”. So there.

But I don’t care how bleak it is. I am sick to the back teeth of those oh-so-futuristic science fiction films, and their conjuring-up of scenarios that, however “dystopic”, are really only there to ravish the eye and numb the mind.

Aniara gets the future right — which is to say, it portrays the future as though it were the present. When we finally build a space elevator, it’s going to be the equivalent of a bus. When we fly to Mars, it’ll be indistinguishable from a ferry. The moment we attain the future, it becomes now, and now is not a place you go in order to exprerience a frisson of wonder or horror. It’s where you’re stuck, trying — and sometimes failing — to scrape together a meaning for it all.

A clown, a fool, a “klimatosser”

I went round to Olafur’s house for New Scientist, 13 July 2019

SIXTEEN years ago, Danish-Icelandic artist Olafur Eliasson caught London off guard with a massive indoor artwork. Some 2 million people visited The Weather Project at the Tate Modern gallery to bask in the glow of a giant, artificial sun. It was a rare moment of collective awe – created using the simplest of materials. This week, Eliasson is back with a major retrospective exhibition and most of the pieces are new to the UK. But a lot has changed since 2003. Days before his new show opens, we asked the artist about selfie culture, what accessible art looks like in the teched-up Anthropocene, and the hefty carbon footprint that pictures and installations leave behind.

Do big art and big science have to justify themselves to people who don’t get the point?

Sadly, yes, and it’s an argument we’re losing because great science and great art are very much long-term projects, views given to politicians with short-term goals. Making a work might take 10 years. Getting it shown might take another 10. For people to finally settle down with the experience might take 10 years, too. It’s a very slow piece of communication.

You command big budgets. Is the relationship with money tricky for artists?

To make big projects is expensive. But think about how much money an alcohol company throws into the promotion of some new drink! I believe there are studies showing that if you throw a euro or a pound into the culture sector, it generates two to three times as much income. There are more people working in the culture sector than there are in the car industry. It’s also a part of our democratic stability. It’s a space where we feel we can have difficult conversations. Is that expensive? No. It’s actually very cheap.

What can we expect from the show at Tate Modern?

We have about 42 works, big and small. Some are entertaining, like Your Uncertain Shadow and Your Blind Passenger, where a tunnel full of smoke gives you the experience of being blind. Of course, instantly your ears get more active, you touch the wall and stretch out your hand so as not to bump into somebody. Other works are more contemplative.

Wasn’t there a plan to stage something outside the gallery?

Yes. We’re installing three waterfalls. We know today there are no real waterfalls left because they’re all human-influenced, if not human-made. So our waterfalls are as real as anything in nature – or as unreal.

Do you consider yourself an environmental artist?

In the show, there is a series of 40 photos of glacial tongues from Iceland, taken in 1998. I believed then that culture and nature were two distinct spaces. I didn’t fully understand that the Anthropocene age had started. When people look at the photos now, they say “this is about climate”. When I took them, it was about their beauty. Soon, I’ll be retaking those photos from the same angles, in the same places. Maybe in October, if I’ve finished, we will sneak in the new pictures so we have the two series hanging next to each other, 20 years apart.

In December, you brought 30 polar ice blocks from Greenland to London and let them melt. Why?

Some 235,000 people were estimated to have been not just walking by, but at the ice – sometimes physically hugging it – and this, I think, made Ice Watch a clear and robust statement. This is what the data from the scientists looks like. This is what a block of ice 15,000 years old looks like. And it’s going to be gone in a week.

How big is the carbon footprint of your work?

We worked with a consultancy called Julie’s Bicycle, which helps people in the culture sector calculate their climate footprint. The London project came to the equivalent of 52 return flights from London to Ilulissat in Greenland. For almost two years, we’ve been trying to come up with a step-by-step solution for my Berlin studio. And whenever I work with museums and logistics teams, I ask them to come up with a response to the climate.

Our readers care about green footprints, but does everyone?

I was with teenage children in Ethiopia in January. They knew all about global warming, they understood about greenhouse gases and how it wasn’t really them, their parents or their ecology that created this problem. There is no place left where people don’t know this. There are deniers in places like the White House who deny things because they’re following other economic or power priorities.

What can artists bring to the climate debate?

Recently, a far right Danish politician lost a huge number of voters and one of the most prominent members of that party said, well, it’s all these climate fools. And immediately, across the political spectrum, people picked up on it, saying “I’m a clown, a fool, a klimatosser“. If we’re going to re-engineer the systems of tomorrow, we need to risk being foolish. Previous models of success can’t be applied. The planet simply can’t host them any longer. We need to take risks.

How has social media affected your work?

It’s kind of the stone age, the way people walk through exhibitions. People walk up to a piece of art that’s very tangible, highly emotional, with sounds and smells and all sorts of things – and they just bloody look at their phone! The problem isn’t necessarily the audience, but the way institutions over-explain everything, as though without a long text people just won’t get it. And once we are used to that, that’s how we react: “My God, there was no text! I had to find out everything myself!” I say, yes, art and culture are hard work, not consumerism. You have to give something to get something.

Does activism consume much of your working life?

I’m lucky that art can be seen to be flirting with activism, and maybe there is a fertilising relationship there. But that’s one of the good things about getting older: you know there are things that you aren’t good at. I’m very content just being an artist.

But you run a business to drive social change.

I have a social entrepreneurship project called Little Sun, which makes a small, handheld, portable solar lantern. On one side, it has a photovoltaic panel, on the other an LED. It replaces the kerosene or petroleum lantern that you would have used previously. Obviously, sitting with an open-wick petroleum lantern is both very unhealthy and very bad for the climate. It’s also expensive.

Is the Little Sun a success?

We’ve done studies on the impact of the lamp. Say a family eats dinner, then the girl does the dishes while the boy does his homework. Once the girl is done, she sits down only to find there’s not enough petroleum left for her homework. One study showed that the Little Sun increased the boy’s homework efficiency by 20 per cent, but increased the girl’s efficiency by 80 per cent. So the Little Sun project is incredibly inspiring.

 

A world that has run out of normal

Reading The Uninhabitable Earth: A Story of the Future by David Wallace-Wells for the Telegraph, 16 February 2019

As global temperatures rise, and the mean sea-level with them, I have been tracing the likely flood levels of the Thames Valley, to see which of my literary rivals will disappear beneath the waves first. I live on a hill, and what I’d like to say is: you’ll be stuck with me a while longer than most. But on the day I had set aside to consume David Wallace-Wells’s terrifying account of climate change and the future of our species (there isn’t one), the water supply to my block was unaccountably cut off.

Failing to make a cup of tea reminded me, with some force, of what ought to be obvious: that my hill is a post-apocalyptic death-trap. I might escape the floods, but without clean water, food or power, I’ll be lucky to last a week.

The first half of The Uninhabitable Earth is organised in chapters that deal separately with famines, floods, fires, droughts, brackish oceans, toxic winds and war and all the other manifest effects of anthropogenic climate change (there are many more than four horsemen in this Apocalypse). At the same time, the author reveals, paragraph by paragraph, how these ever-more-frequent disasters join up in horrific cascades, all of which erode human trust to the point where civic life collapses.

The human consequences of climate disaster are going to be ugly. When a million refugees from the Syrian civil war started arriving in Europe in 2017, far-right parties entered mainstream political discourse for the first time in decades. By 2050, the United Nations predicts that Europe will host 200 million refugees. So buckle up. The disgust response with which we greet strangers on our own land is something we conscientiously suppress these days. But it’s still there: an evolved response that in less sanitary times got us through more than one plague.

That such truths go largely unspoken says something about the cognitive dissonance in which our culture is steeped. We just don’t have the mental tools to hold climate change in our heads. Amitav Ghosh made this clear enough in The Great Derangement (2016), which explains why the traditional novel is so hopeless at handling a world that has run out of normal, forgotten how to repeat itself, and will never be any sort of normal again.

Writers, seeking to capture the contemporary moment, resort to science fiction. But the secret, sick appeal of post-apocalyptic narratives, from Richard Jefferies’s After London on, is that in order to be stories at all their heroes must survive. You can only push nihilism so far. J G Ballard couldn’t escape that bind. Neither could Cormac McCarthy. Despite our most conscientious attempts at utter bloody bleakness, the human spirit persists.

Wallace-Wells admits as much. When he thinks of his own children’s future, denizens of a world plunging ever deeper into its sixth major extinction event, he admits that despair melts and his heart fills with excitement. Humans will cling to life on this ever less habitable earth for as long as they can. Quite right, too.

Wallace-Wells is deputy editor of New York magazine. In July 2017 he wrote a cover story outlining worst-case scenarios for climate change. His pessimism proved salutary: The Uninhabitable Earth has been much anticipated.

In the first half of the book the author channels former US vice-president Al Gore, delivering a blizzard of terrifying facts, and knocking socks off his predecessor’s An Inconvenient Truth (2006) not thanks to his native gifts (considerable as they are) but because the climate has deteriorated since then to the point where its declines can now be observed directly, and measured over the course of a human lifetime.

More than half the extra carbon dioxide released into the atmosphere by burning fossil fuels has been added in the past 30 years. This means that “we have done as much damage to the fate of the planet and its ability to sustain human life and civilization since Al Gore published his first book on climate than in all the centuries – all the millennia – that came before.” (4) Oceans are carrying at least 15 per cent more heat energy than they did in 2000. 22 per cent of the earth’s landmass was altered by humans just between 1992 and 2015. In Sweden, in 2018, forests in the Arctic Circle went up in flames. On and on like this. Don’t shoot the messenger, but “we have now engineered as much ruin knowingly as we ever managed in ignorance.”

The trouble is not that the future is bleak. It’s that there is no future. We’re running out of soil. In the United States, it’s eroding ten times faster than it is being replaced. In China and India, soil is disappearing thirty to forty times as fast. Wars over fresh water have already begun. The CO2 in the atmosphere has reduced the nutrient value of plants by about thirty per cent since the 1950s. Within the lifetimes of our children, the hajj will no longer be a feature of Islamic practice: the heat in Mecca will be such that walking seven times counterclockwise around the Kaaba will kill you.

This book may come to be regarded as last truly great climate assessment ever made. (Is there even time left to pen another?) Some of the phrasing will give persnickety climate watchers conniptions. (Words like “eventually” will be a red rag for them, because they catalyse the reader’s imagination without actually meaning anything.) But the research is extensive and solid, the vision compelling and eminently defensible.

Alas, The Uninhabitable Earth is also likely to be one of the least-often finished books of the year. I’m not criticising the prose, which is always clear and engaging and often dazzling. But It’s simply that the more we are bombarded with facts, the less we take in. Treating the reader like an empty bucket into which facts may be poured does not work very well, and even less well when people are afraid of what you are telling them. “If you have made it this far, you are a brave reader,” Wallace Wells writes on page 138. Many will give up long before then. Climate scientists have learned the hard way how difficult it is to turn fact into public engagement.

The second half of The Uninhabitable Earth asks why our being made aware of climate disaster doesn’t lead to enough reasonable action being taken against it. There’s a nuanced mathematical account to be written of how populations reach carrying capacity, run out of resources, and collapse; and an even more difficult book that will explain why we ever thought human intelligence would be powerful enough to elude this stark physical reality.

The final chapters of The Uninhabitable Earth provide neither, but neither are they narrowly partisan. Wallace-Wells mostly resists the temptation to blame the mathematical inevitability of our species’ growth and decline on human greed. The worst he finds to say about the markets and market capitalism – our usual stock villains – is not that they are evil, or psychopathic (or certainly no more evil or psychopathic than the other political experiments we’ve run in the past 150 years) but that they are not nearly as clever as we had hoped they might be. There is a twisted magnificence in the way we are exploiting, rather than adapting to the End Times. (Whole Foods in the US, we are told, is now selling “GMO-free” fizzy water.)

The Paris accords of 2016 established keeping warming to just two degrees as a global goal. Only a few years ago we were hoping for a rise of just 1.5 degrees. What’s the difference? According to the IPCC, that half-degree concession spells death for about 150 million people. Without significantly improved pledges, however, the IPCC reckons that instituting the Paris accords overnight (and no-one has) will still see us topping 3.2 degrees of warming. At this point the Antarctic’s ice sheets will collapse, drowning Miami, Dhaka, Shanghai, Hong Kong and a hundred other cities around the world. (Not my hill, though.)

And to be clear: this isn’t what could happen. This is what is already guaranteed to happen. Greenhouse gases work on too long a timescale to avoid it. “You might hope to simply reverse climate change;” writes Wallace-Wells: “you can’t. It will outrun all of us.”

“How widespread alarm will shape our ethical impulses toward one another, and the politics that emerge from those impulses,” says Wallace-Wells,”is among the more profound questions being posed by the climate to the planet of people it envelopes.”

My bet is the question will never tip into public consciousness: that, on the contrary, we’ll find ways, through tribalism, craft and mischief, to engineer what Wallace-Wells dubs “new forms of indifference”, normalising climate suffering, and exploiting novel opportunities, even as we live and more often die through times that will never be normal again.

Design news from the sandbox

Visiting Dubai Design Week for New Scientist, 20 December 2018

For a while now, I have been barracking my betters (and with a quite spectacular lack of success) to send me to cover the science and technology of the Middle East. True, it’s a region abuzz with boosterism and drowning in vapourware, but big issues do get addressed here, in a bullish, technocratic sort of way.

Is the planet in trouble? Certainly. The scale of the problem is easier to accept if you live in a climate and an ecosystem that was barely habitable to begin with. Is this state of affairs a consequence of human action? Obviously: the Gulf used to be green, with the whole coast once threaded with irrigation channels. No one here is ignorant of the fact. Should we bail out for Mars at the earliest available opportunity? Hell, yes – and Dubai, where the air-con (if not yet the air) has to be paid for, is the closest Earth has to a civic blueprint for Mars.

At the Dubai Design Week last November, I met a new generation of graduates sharing designs for the end of the world.

They had come for the fourth edition of the city’s annual Global Grad Show. The show featured 150 works this year, representing 100 of the world’s best design schools in 45 countries – and this explains, even if it does not quite justify, the show’s claim that it is “the most diverse student gathering ever assembled”. Locating the show is not so easy, I find, traipsing cluelessly among the super-symmetrical towers of d3 (the Dubai Design District, and one of Dubai’s many enterprise zones). I elbow through crowds gathered in knots around maps, there to guide them to Downtown Design, an enormous trade fair drawing in hundreds of brands from all over the world, or queueing for any one of the 230-odd other events, workshops and product launches that make this week the largest creative festival in the Middle East.

What’s driving this ferment? You may as well ask what’s driving Dubai itself – a liberal-ish responsive-while-undemocratic metropolis less than a generation old, emerging like a toadstool after spring rains in one of the most inhospitable ends of the Earth. Dubai, built by South Koreans, bankrolled by Iranian exiles, administered by European blow-ins, is global capitalism’s last great sandbox experiment before the Red Planet. The Emiratis themselves direct the design effort, and three projects dominate: mass housing; sustainable technology (because Dubai is already living the low-carbon inhospitable-climate nightmare);  and, yes, I wasn’t joking, building for space exploration.

Set against the grandiloquence of the government’s plans, Global Grad Show is humble indeed.  There’s a guide dog harness called Guidog by Paulina Morawa from Krakow, which, because it’s made of rigid plastic, communicates the dog’s subtlest movements to its handler, allowing users to traverse even the roughest ground. There’s a box of watery jellies by Londoner Lewis Hornby, who noticed that his grandmother, who lives with Alzheimer’s, finds drinking difficult. Eating a box of Jelly Drops (above) is equivalent to drinking a litre of water. There’s even a washtub by Masoud Sistani and Mohammad Ghasemi, an Iranian design team, which clips into the hubcap of a long-distance lorry, so that drivers pulling a 24-hour haul over the Hindu Kush can change into clean underpants once in a while.

If this last design makes you pause: well, so it should. Naji, another design from Iran (this time from a team at the Art University of Isfahan) hits the same nerve: a flotation device that deploys from street lamps whenever a road gets seriously flooded – presumably because some bright spark thought to build across a flood plain. Either these designs are absurdly naive or they are very astute, forcing us to confront some of the unspoken infrastructures underlying our ways of life.

There is, for sure, a mischievous side to this show.  There’s Camilla Franchini’s plan for handing Naples, the third most populous city in Italy, entirely over to fulfilment-centre robots. Seray Ozdemir, meanwhile, has grown so fed up of London’s overcrowding that he’s designed a suite of furniture to turn narrow corridors into living spaces. Yiannis Vogdanis’s wearable devices simulate environmental problems; there’s a mask here that has users gasping for air whenever they pass bodies of oxygen-starved water.

Other exhibits argue, with some force, that the time for provocation is over, and what we need now are simple, cheap, reproducible devices to strengthen our ever-more precarious hold on a hot, spent, resource-stripped planet. There is a fog-harvesting machine, a wind-powered sea-water desalination device, a dry toilet styled for the European market and a portable urinal designed for women and girls in refugee camps. And since we can look forward to many more mass-migrations in the coming years of famine, drought and resource war, there’s a rescue vessel concept to improve rescue missions at sea.

“I’ve started seeing, year on year, a growing assumption that climate change won’t be solved,” the show’s director Brendan McGetrick says.”It’s depressing, but it’s also reassuring, in that these young designers recognise what I think most of us recognise: that the people in charge aren’t going to do anything at a big enough scale to be meaningful.”

Within their limited capacity, the designers at this year’s Global Grad Show are at least trying to get ahead of things.

Edward Burtynsky: Fossil futures

An overview of The Anthropocene Project for New Scientist, 10 October 2018

THE lasting geological impact of our species is clearly visible within the galleries of this potash mine in Russia’s Ural mountains. The Urals contain one of the largest deposits in the world of this salt, one of the most widely used fertilisers. Mining has left behind vast subterranean galleries, their walls machine-carved with enormous ammonite-like whorls.

The Canadian photographer and artist Edward Burtynsky took this photograph for The Anthropocene Project, a collaborative chronicle of geologically significant human activity such as extraction, urbanisation and deforestation. Works from the project are on display at the Art Gallery of Ontario and the National Gallery of Canada, while this image and other photographs feature in Burtynsky’s exhibition The Human Signature, at London’s Flowers Gallery, to 24 November.

This September also saw the release of a documentary film, Anthropocene: The human epoch, and a book of colour photographs by Burtynsky, which includes new writing from author and poet Margaret Atwood.

Through publications, films and immersive media, Burtynksy and his Anthropocene Project collaborators – filmmakers Jennifer Baichwal and Nicholas de Pencier – convey the unsettling visual reality of resource depletion and extinction: how our planet’s surface is being scarred, ground and shovelled into abstract, almost painterly forms.

The effects of mining, in particular, are irreversible. While animal burrows reach a few metres at most, humans carve out networks that can descend several kilometres, below the reach of erosion. They are likely to survive, at least in trace form, for millions or even billions of years.

There is an eerie poetry to this: burrows found in 500-million-year-old sediment tipped off geologists to the massive diversification of animal forms known as the Cambrian explosion. Will our own gargantuan earthworks commemorate more than just a mass extinction event?

Tomás Saraceno: Beneath an ocean of air

Visiting Tomás Saraceno’s Berlin studio for New Scientist, 13 October 2018

THE Argentine-born artist Tomás Saraceno maintains a studio in Berlin – if you can call a disused chemicals factory a studio. There is nothing small about this operation. Saraceno, who trained as an architect in Buenos Aires, now employs hundreds of people, with specialisms ranging from art history and architecture to biology and anthropology. If you’re serious about saving the world, you need this kind of cross-disciplinary team, I suppose.

Though Saraceno hasn’t exactly promised to save the world, he has been dropping some big hints. His utopian installations include Cloud Cities at Hamburger Bahnhof, Berlin, in 2011 – a collection of geometric, inflated shapes. Even by the time of his Observatory/Air-Port-City show at London’s Hayward Gallery in 2008, these shapes contained autonomous residential units. A network of habitable cells floated in the air, combining and recombining like clouds.

A year later at the Metropolitan Museum in New York, gallery-goers got to explore these spaces via 16 interconnected modules made up of glass segments held in place by steel cables. And in June 2013, the K21 gallery in Düsseldorf invited visitors to wander more than 25 metres above the gallery’s piazza across a web dotted with inflated PVC spheres.

This is Saraceno’s answer to our global problems: he wants us to take to the air. That’s why he coined the term “Aerocene” for one of his projects. He wants people to think of climate change in terms of possibility, playfulness and, yes, escape. “We live beneath an ocean of air,” he once wrote, as he sketched his utopian vision of a city in the clouds. “But we’ve yet to find a way to inhabit it.”

Near his Berlin studio is a scruffy public park. Part of it is marked out for football. Behind one goal stands a graffitied stretch of the Berlin Wall. Today there’s another attraction: two men are running back and forth, trying to fill a black bag as big as a minivan with air. It is a fine, windless day; the air in the bag heats up quickly, and once it is sealed, the container rises into the sky. A bag no longer, it is clearly recognisable as one of Saraceno’s signature tetrahedral solar balloons.

These black balloons have been plying the skies since 2007. They are mascots of the artist’s multi-stranded effort to combine engineering, architecture and the natural sciences to create a new, democratic kind of environmental art, made of bubbles and aerial platforms and webs. An art that mitigates climate change, he says, and makes the sky habitable, by establishing a modular, transnational settlement in the skies through solar balloons that require no fuel at all. An art that ushers in utopia.

Could it be that this chap is just playing about with balloons? Trying to calculate Saraceno’s level of seriousness is half the fun. Over lunch, for instance, he tells me that he wants to return us “to a sort of Mayan sensitivity towards celestial mechanics”.

But some of his efforts are admirably practical. The balloon I’d just seen being demonstrated was an Aerocene Explorer: it comes in a backpack complete with instructions on how to create and fly lightweight sensors. Any data collected can be uploaded and shared with Aerocene’s online community, via a website where participants from all over the world are sharing their experiments and innovations.

Practicalities aside, much of Saraceno’s work is simply beautiful. For a show opening at the Palais de Tokyo in Paris on 17 October, the team is busy building playful orreries, mechanical models of the solar system that combine planetary orbits with the physics of soap bubbles and webs spun by his pet Cyrtophora citricola spiders.

These unbelievably delicate confections will be on show with some mirrored umbrellas that also double as solar cookers. When arranged in concentric circles, Saraceno imagines that in the manner of a solar thermal power plant, the umbrellas might even concentrate enough heat to inflate a large balloon. He hopes to try out the idea when Audemars Piguet – a Swiss watch manufacturer that has recent form in backing innovative science-inflected art – takes parts of his sprawling Aerocene endeavour to Miami this December for the Art Basel fair.

Meanwhile, there are myriad things to organise for Paris: workshops, concerts, public symposiums uniting scientific institutions, researchers, activists, local communities, musicians and philosophers. As he says: “People aren’t very interested in simple ideas. You have to give things a little bit of complication to get the audience to engage.”

balloons

He found this out the moment he started using solar balloons. The balloons, which work by simply zipping up some air in a heat-absorbing bag, have been around since the 1970s. His own projects have demonstrated their usefulness in meteorology, pollution monitoring, even passenger transport. In 2015, he flew in a tethered solar balloon over the dunes of White Sands in New Mexico, where the US launched its first rockets and where the world’s first tourist spaceport is located. The Massachusetts Institute of Technology got in on the act, and created technology so that you can use the Aerocene.org website to plan a meteorologically feasible journey, by balloon, from Point A to Point B, anywhere on Earth.

“Rats saved at the point of giving up fought for life 240 times longer when returned to danger”

Here’s the paradox. Saraceno’s work has always been playful, and part of the game, he explains, has been “trying to sell this work as some sort of global solution to something”. But while his visions of an airborne utopia remain as remote as ever, his Aerocene project has spawned a foundation that uses lightweight balloons for climate activism and pollution monitoring. And even the absurd spectacle of someone jetting from country to country to fly fuel-less balloons has become part of the art, as Saraceno’s studio begins to record his own carbon footprint.

Saraceno makes an important point about how we address climate change in our lives. The trick, he says, is not to let the perfect get in the way of the good. Escapism is fine. He has no time for the way so many artists and pundits are ringing humanity’s death knell. He has a special contempt for the lazy way the word Anthropocene crops up now in every climate conversation, as if, with the advent of this putative new era, our doom was sealed. “What a great way for a small number of people to disempower and demotivate us,” he says.

Given the seriousness of our environmental bind, isn’t escapism a bit irresponsible? Saraceno points me to a 1957 paper by psychobiologist Curt Richter. His gruesome experiments left rats to drown in water-filled containers from which they could not escape. But if he briefly rescued rats at the point they gave up swimming, and then returned them to the water, those rats continued to fight for life 240 times longer. Richter concluded that they had learned that there was hope. Faced with challenges on a planetary scale, we are scrambling for our lives, and can see no way out. “We need the energy those rats got when they saw some small hope,” says Saraceno.

I hadn’t expected our conversation to take this dark turn, but creating such small glimmers of hope is his business. If he is a joker, then he is one in the best sense of the word.

Should we take Saraceno’s work seriously? I was doubtful, but now I think, why look a gift horse in the mouth? He enthuses people. He gets us thinking. And he is right: a little hope goes a long way.

Unseen, Amsterdam: Blanket coverage

When Records Melt at Unseen Amsterdam, discussed in New Scientist, 20 September 2018

Visit the Rhône Glacier in southern Switzerland, and you are more than likely to wander past a small shop. It’s worth a visit: the owners have carved out an ice grotto, and charge tourists for the eerie and beautiful experience of exploring the inside of their glacier’s mass of blue ice.

Now, though, it’s melting. The grotto is such an important part of their livelihood, some years ago the owners invested 100,000 euros in a special thermal blanket. “It’s kept about 25 metres’ depth of ice from disappearing and has kept the grotto in business,” explains the photographer Simon Norfolk. But a few winters on the mountain have left the blanket in tatters.

“It’s the gesture that fascinates me,” says Norfolk. “There is something insane about trying to reverse the inevitable – a gesture as forlorn and doomed as the glacier itself.”

Norfolk and fellow photographer Klaus Thymann climbed up to the grotto just before dawn, armed with a light attached to a helium balloon that cast a sepulchral light over the scene. “I wanted to recreate the same light you get over a mortuary slab,” Norfolk says.

Emilia van Lynden, artistic director of Unseen Amsterdam, finds the effect as aesthetically chilling as it is beautiful. Of the whole series, called Shroud, she observes: “We’re seeing a glacier being wrapped and prepared for death.”

“There’s next to no photo-journalism here,” van Lynden explains. “None of the images here expect you to take them at face value. They expect you to pay attention and figure things out for yourself. These are works into which you need to invest a little bit of time and effort, to see what the artist is trying to tell you.”

On the face of it, then, the presence at Unseen of Project Pressure, Norfolk and Thymann’s campaigning environmental charity, seems odd. The whole point of the outfit, which has collaborated with the likes of NASA and the World Glacier Monitoring Service, is not just to get us to think about climate change, but to do something positive about it.

But art photography, Norfolk and Thymann believe, is a more effective communication tool than straightforward photo-journalism.

Their point is eloquently made by this 24 hour time-lapse video, created with a thermal imaging camera. By revealing the heat-properties of the scene, Norfolk and Thymann underline the different temperatures in the ice-body versus the surrounding landscape – a key indicator of climate change.

“I believe artists often make the best social and environmental investigators,” says van Lynden. “The trouble with ‘straight’ photography is it looks for stunning subjects and leaves you, well, stunned by them. Glaciers are magnificent in their natural form even as they’re melting away.”

The series exhibited in Project Pressure’s show When Records Melt take a different approach.

Among van Lynden’s favourite works are photographs by Christopher Parsons, who is better known for photographic portraits of explorers and sports personalities. Parsons won Project Pressure’s open call, and was invited on an expedition to the Himalayas. He collaborated with scientists studying alterations in the microbial life around retreating glaciers, and his photographs, while full of dread, are also accurate records of how changing weather patterns are altering the course of life in these fragile environments.

Lhotse at sundown, Nepal

Adam Broomberg and Oliver Chanarin also take an apparently left-field approach to glacier retreat that nonetheless packs a powerful emotional punch. “Their work is literally a huge photograph of a bone that was found within the Rhône glacier,” says van Lynden. “They’re looking at the glacier as a living archive that now is slowly unravelling. All this information, all this stored data, which has been locked in the ice for however many thousands of years, is being lost.”

She is in no doubt that Project Pressure’s message is clear. If you’re not convinced by one series of photographs, says van Lynden, “then you have six other projects that showcase, each in its individual manner, the irreparable damage we have done to our planet.”

Just how much does the world follow laws?

zebra

How the Zebra Got its Stripes and Other Darwinian Just So Stories by Léo Grasset
The Serengeti Rules: The quest to discover how life works and why it matters by Sean B. Carroll
Lysenko’s Ghost: Epigenetics and Russia by Loren Graham
The Great Derangement: Climate change and the unthinkable by Amitav Ghosh
reviewed for New Scientist, 15 October 2016

JUST how much does the world follow laws? The human mind, it seems, may not be the ideal toolkit with which to craft an answer. To understand the world at all, we have to predict likely events and so we have a lot invested in spotting rules, even when they are not really there.

Such demands have also shaped more specialised parts of culture. The history of the sciences is one of constant struggle between the accumulation of observations and their abstraction into natural laws. The temptation (especially for physicists) is to assume these laws are real: a bedrock underpinning the messy, observable world. Life scientists, on the other hand, can afford no such assumption. Their field is constantly on the move, a plaything of time and historical contingency. If there is a lawfulness to living things, few plants and animals seem to be aware of it.

Consider, for example, the charming “just so” stories in French biologist and YouTuber Léo Grasset’s book of short essays, How the Zebra Got its Stripes. Now and again Grasset finds order and coherence in the natural world. His cost-benefit analysis of how animal communities make decisions, contrasting “autocracy” and “democracy”, is a fine example of lawfulness in action.

But Grasset is also sharply aware of those points where the cause-and-effect logic of scientific description cannot show the whole picture. There are, for instance, four really good ways of explaining how the zebra got its stripes, and those stripes arose probably for all those reasons, along with a couple of dozen others whose mechanisms are lost to evolutionary history.

And Grasset has even more fun describing the occasions when, frankly, nature goes nuts. Take the female hyena, for example, which has to give birth through a “pseudo-penis”. As a result, 15 per cent of mothers die after their first labour and 60 per cent of cubs die at birth. If this were a “just so” story, it would be a decidedly off-colour one.

The tussle between observation and abstraction in biology has a fascinating, fraught and sometimes violent history. In Europe at the birth of the 20th century, biology was still a descriptive science. Life presented, German molecular biologist Gunther Stent observed, “a near infinitude of particulars which have to be sorted out case by case”. Purely descriptive approaches had exhausted their usefulness and new, experimental approaches were developed: genetics, cytology, protozoology, hydrobiology, endocrinology, experimental embryology – even animal psychology. And with the elucidation of underlying biological process came the illusion of control.

In 1917, even as Vladimir Lenin was preparing to seize power in Russia, the botanist Nikolai Vavilov was lecturing to his class at the Saratov Agricultural Institute, outlining the task before them as “the planned and rational utilisation of the plant resources of the terrestrial globe”.

Predicting that the young science of genetics would give the next generation the ability “to sculpt organic forms at will”, Vavilov asserted that “biological synthesis is becoming as much a reality as chemical”.

The consequences of this kind of boosterism are laid bare in Lysenko’s Ghost by the veteran historian of Soviet science Loren Graham. He reminds us what happened when the tentatively defined scientific “laws” of plant physiology were wielded as policy instruments by a desperate and resource-strapped government.

Within the Soviet Union, dogmatic views on agrobiology led to disastrous agricultural reforms, and no amount of modern, politically motivated revisionism (the especial target of Graham’s book) can make those efforts seem more rational, or their aftermath less catastrophic.

In modern times, thankfully, a naive belief in nature’s lawfulness, reflected in lazy and increasingly outmoded expressions such as “the balance of nature”, is giving way to a more nuanced, self-aware, even tragic view of the living world. The Serengeti Rules, Sean B. Carroll’s otherwise triumphant account of how physiology and ecology turned out to share some of the same mathematics, does not shy away from the fact that the “rules” he talks about are really just arguments from analogy.

“If there is a lawfulness to living things, few plants and animals seem to be aware of it”
Some notable conservation triumphs have led from the discovery that “just as there are molecular rules that regulate the numbers of different kinds of molecules and cells in the body, there are ecological rules that regulate the numbers and kinds of animals and plants in a given place”.

For example, in Gorongosa National Park, Mozambique, in 2000, there were fewer than 1000 elephants, hippos, wildebeest, waterbuck, zebras, eland, buffalo, hartebeest and sable antelopes combined. Today, with the reintroduction of key predators, there are almost 40,000 animals, including 535 elephants and 436 hippos. And several of the populations are increasing by more than 20 per cent a year.

But Carroll is understandably flummoxed when it comes to explaining how those rules might apply to us. “How can we possibly hope that 7 billion people, in more than 190 countries, rich and poor, with so many different political and religious beliefs, might begin to act in ways for the long-term good of everyone?” he asks. How indeed: humans’ capacity for cultural transmission renders every Serengeti rule moot, along with the Serengeti itself – and a “law of nature” that does not include its dominant species is not really a law at all.

Of course, it is not just the sciences that have laws: the humanities and the arts do too. In The Great Derangement, a book that began as four lectures presented at the University of Chicago last year, the novelist Amitav Ghosh considers the laws of his own practice. The vast majority of novels, he explains, are realistic. In other words, the novel arose to reflect the kind of regularised life that gave you time to read novels – a regularity achieved through the availability of reliable, cheap energy: first, coal and steam, and later, oil.

No wonder, then, that “in the literary imagination climate change was somehow akin to extraterrestrials or interplanetary travel”. Ghosh is keenly aware of and impressively well informed about climate change: in 1978, he was nearly killed in an unprecedentedly ferocious tornado that ripped through northern Delhi, leaving 30 dead and 700 injured. Yet he has never been able to work this story into his “realist” fiction. His hands are tied: he is trapped in “the grid of literary forms and conventions that came to shape the narrative imagination in precisely that period when the accumulation of carbon in the atmosphere was rewriting the destiny of the Earth”.

The exciting and frightening thing about Ghosh’s argument is how he traces the novel’s narrow compass back to popular and influential scientific ideas – ideas that championed uniform and gradual processes over cataclysms and catastrophes.

One big complaint about science – that it kills wonder – is the same criticism Ghosh levels at the novel: that it bequeaths us “a world of few surprises, fewer adventures, and no miracles at all”. Lawfulness in biology is rather like realism in fiction: it is a convention so useful that we forget that it is a convention.

But, if anthropogenic climate change and the gathering sixth mass extinction event have taught us anything, it is that the world is wilder than the laws we are used to would predict. Indeed, if the world really were in a novel – or even in a book of popular science – no one would believe it.

Recalling the Paris climate talks

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Taking a look at the artwork around COP21, the Paris climate talks, for New Scientist, 11 December 2015.

In the failing winter light, in full view of Paris’s Cité des Sciences et de L’Industrie, the dead are rising from the Canal de l’Ourcq. Municipal bicycles; shopping trolleys; a filing cabinet. Volunteers have hauled up these unedifying objects and the artist has mounted them just above the water’s surface.

The point, probably, is that in our ever more crowded, ever more connected world, there is no longer any “away” in which to throw anything; we must live with our waste, as surely as we must live with our past. Something like that. In any event Breaking the Surface by Michael Pinsky is, well, recycled: it has been done before (indeed, dates back to the work of artist Marcel Duchamp around 1913-15), and it makes a point that is an unwinning combination of the necessary and the overdone, like a parent always telling you to eat your greens.

I came to Paris to cover what was billed as an unprecedented cultural ferment around COP21, the UN conference on climate change. I expected more than a few mud-encrusted chairs and bikes.

But as the hours went by, and the days, and the kilometres, two painful truths become evident. First, there will be no ferment. The most exciting public events have been cancelled, scaled back, or hurriedly relocated. The recent terror attacks on Paris have seen to that, and the subsequent city-wide ban on demonstrations, not to mention the controversial decision to place local climate activists under house arrest.

Even more painful is the realisation that our current cultural responses to the wicked problem of climate change look as narrow, as blinkered, and as hard to communicate as the scientific ones. Climate change is no longer a purely scientific problem: it is a political and social truth we must handle as best we can. And we aren’t handling it. We can’t handle it. We haven’t got a clue.

So why is there so little in the cultural bank? On the face of it, art and culture have enough of the right kind of lenses to focus on the wicked problem’s wickedness and to prompt new thoughts, forge new understandings and settlements – maybe even spur new actions.

However, in the absence of any fresh currency, the organisers of ArtCOP21 – the cultural programme surrounding the talks, and running on well after any deal is brokered – had a duty to see what could be done with art-culture’s existing toolkit.

Take visualisation, making the invisible visible. Like Breaking the Surface, this is a very old game. But in the right hands it can work well, and arguably, one of the best pieces in Paris is EXIT at the Palais de Tokyo, a full and quite scary updating of an immersive video installation first shown in 2008.

In a dark room, an Earth 2 metres across moves remorselessly around a 360-degree screen. A sound like the chattering of millions accompanies six animated maps as they move round the screen, with their all too respectable data showing how the connection between humans and their environment has fallen off a cliff over the past seven years.

The titles speak volumes: Population Shifts: Cities; Remittances: Sending Money Home; Political Refugees and Forced Migration; Natural Catastrophes; Rising Seas, Sinking Cities; Speechless and Deforestation.

The pixels making up each map represent human experiences, some dots standing in for thousands of people on the move: does attachment to a place now have more to do with moving across it than living on it?

The man who inspired the work, philosopher Paul Virilio, captured its spirit in a separate film: “It’s almost as though the sky, and the clouds in it and the pollution of it, were making their entry into history.”

EXIT is a chilling but effective call to action by design studio Diller Scofidio + Renfro, along with Mark Hansen, Laura Kurgan, Ben Rubin and a host of others, exposing connections that would otherwise have been missed.

At the other end of the empathy spectrum is the deceptive work of Janet Laurence and Tania Kovats. On the face of things, both artists appear to be concerned more with aesthetic values rather than social and political ones. But in fact their exquisite, precise work is all about raw, tranformative emotion, the stuff that generates change without knowing how it does so.

Laurence’s Deep Breathing (Resuscitation for the Reef) at the Museum National d’Histoire Naturelle looks glacial and cool, with glass containers showing pieces of broken coral, shells and the skeletons of marine animals.

But the glass is meant to represent a resuscitation unit for the Great Barrier Reef, full of bleached-out dead and dying creatures – including some units that suggest babies in intensive care.

For environmental artist Laurence, the reef is not a tourist object but all about fragility: it invokes our need to heal it, to pity it, to love it. Emotion. What a great gig!

And for Tania Kovats, too. Evaporation is one of ArtCOP21’s highlighted works outside Paris: it premiered during the Manchester Science Festival in October and will show until March next year at Manchester’s Museum of Science and Industry.

As the recipient of a Lovelock Art Commission, which invites an artist to take inspiration from the work of independent scientist James Lovelock, her emotion is for water, for the planet’s seas as barometer of planetary health, for Gaia theory.

Kovats’s installation comprises three large, shallow, metal bowls made from the shapes of the world’s three major oceans: Atlantic, Pacific and Indian. A solution of salt and blue ink placed in each bowl gradually evaporates during the show, leaving crusts of salt crystals in concentric rings.

It is never the same again. It bears witness to the metaphorical movement of oceans, unlike the poem Dear Matafele Peinem, which is forced to bear witness to the real movement of water.

Waves of the future

Marshall Islander Kathy Jetnil-Kijiner first performed her poem at the 2014 UN climate meeting in New York. And she read it again – to a flash mob during a “cultural takeover” of London’s St Pancras International Station the day the conference opened.

The promises to her Buddha-fat baby that her generation would not let the waves of the future literally roll over the Marshall Islands should have been embarrassing:

And they’re marching for you, baby
they’re marching for us
because we deserve to do more than just
survive
we deserve
to thrive…
so just close those eyes, baby
and sleep in peace
because we won’t let you down
you’ll see.

but they are more than that, they are terrible. Because no one can make such promises.

You can dream up perfectly legitimate ways to fix the world. Indeed, you jolly well should. The now pudgy little toddler Matafele won’t thank us for not trying. Ultimately, while scientists measure problems, and technologists can build tools to deal with them, what we do and when and how is a political issue. It is up to us.

Alternatiba, the global village of alternatives, was one of those grass-roots, left-leaning outings that are very easy to satirise (there were a lot of polar bear suits about, a lot of singing) but not, ultimately, so very easy to dismiss.

“Change the system, not the climate”, was the festival’s motto, the point being that our entire global civilisation is built on fossil fuels, and we’re unlikely to be able to wean ourselves off them without asking a lot of hard questions about our society.

The problem for Alterniba was that it brought together a whole set of perfectly reasonable local practices, from organic gardening to straw-bale house construction, and – in a paroxysm of magical thinking – posited them as global solutions.

“Think global, act local” is one of those phrases whose euphony masks its fatuity. No local solution is globally applicable. The trick is surely for everyone to act local and think local: not to tilt at “the system” willy-nilly, but – in the teeth of serious political and legislative opposition – to operate outside it.

Outside or inside the system, is it worthwhile to simply play with climate change? Tomás Saraceno thinks so. An artist obsessed with weightlessness, the sky and the possibilities offered by floating utopias, Saraceno is spearheading a global effort to resettle humanity in the atmosphere inside habitable solar balloons. Or something.

Uncertainties around the scale of project, its aims and the degree of seriousness we should assign to it, are part of Saraceno’s game. He is an artist, after all: questions and speculations are his stock in trade. In launching a handful of balloons made out of plastic bags, Saraceno raises some very good questions: about who owns what in the environment; where our individual physical freedom comes from, and who grants it; about risk, and responsibility, and civics, and community.

His Aerocene movement achieves what Alterniba cannot: it extricates itself from the global agenda set by global agencies and pursues (or at any rate dreams up) a blank canvas – the air itself! – for its tiny, winning experiments in featherweight living. Revolutions have sprung from less.

And in a world that has very little space and patience for revolutions, Saraceno’s chutzpah – and in the proper sense of the word, his naiveté – are much to be commended.