May 8, 2007 at 8:09 am · Filed under Art, Research, Pollution, Atmosphere, Information, Discourse, Mapping, EPA, Manhattan, Government, Toxic, Contamination, 9/11, Brooke Singer
New work made for New Climates
Permalink
800 Steps Apart is a video triptych by Brooke Singer and Brian Rigney Hubbard that compares two opposing protocols endorsed by the Environmental Protection Agency (EPA) to handle cleanup in Lower Manhattan post-9/11. A Russian émigré, living at 300 Albany Street, was told by the Red Cross, Federal Emergency Management Agency (FEMA) and the EPA to return to her apartment two weeks after 9/11 and to simply remove the dust and debris with a bucket and a mop. The other site, 130 Liberty Street or the former Deutsche Bank building, is just four blocks from 300 Albany Street, but a world apart in its approach to cleanup. 800 Steps Apart is a video short that is part of a larger documentary project by Singer and Hubbard about communities affected by toxic contamination, abandoned by the EPA and in search of responsive, environmental leadership.
Special thanks to the actors in “800 Steps Apart”: Christopher Murray, Erla Skúladóttir and Elizabeth Sweibel.
– Brooke Singer and Brian Rigney Hubbard
800 Steps Apart questions the response (and responsibility) of government agencies in environmental crises. The administration of toxin-cleanup after 9/11, the video shows, was not uniformly thorough or competent, leaving some victims to suffer the consequences of their contaminated environments. With this terrifying revelation, we are led to question how our government will manage future ecological and environmental disasters that lie on the horizon as a result of climate change. Indeed, 800 Steps Apart challenges the local/global opposition. By uniting a highly localized issue—contamination in Lower Manhattan—and questions of national environmental leadership, the video simultaneously addresses a narrow and broad audience. The way such disasters are handled—even at the level of neighborhoods, blocks and apartments—is relevant to us all; it speaks to our ability and preparedness to deal with environmental emergencies on the global scale—a response that will certainly be tested in decades to come.
April 18, 2007 at 6:25 pm · Filed under Art, New Work, Appropriation, The Future, Global, Pollution, Time, Atmosphere, Survival, Science, Michael Alstad, Livestock
New work made for New Climates
Permalink
“Nothing will benefit human health and increase chances of survival for life on earth as much as the evolution to a vegetarian diet.”
– Albert Einstein
According to a report by the UN Food and Agriculture Organisation (FAO), cows, pigs, sheep and poultry are among the world’s greatest environmental threats and contribute a staggering 18% of global greenhouse gas emissions—considerably more than transport, which emits 13%. The report, entitled “Livestock’s long shadow,” says the meat industry is degrading land, contributing to the greenhouse effect, polluting water resources, and destroying biodiversity. Livestock use 30% of the earth’s land surface and pastures for cattle use 70% of deforested areas in the Amazon. Massive deforestation is expected as meat consumption is expected to double by 2050 as the populations from emerging countries embrace an unhealthy “western diet” based on meat products and fast food.
Curiously, the environmental threat caused by the meat industry has been mostly absent from the ongoing dialogue about climate change. Even the Academy Award-winning documentary An Inconvenient Truth failed to address the livestock industry’s impact on global climate change.
In the video Methane, I combined footage of factory farms found on the web using the search tool in Flickr, YouTube, and various blogs, with an animation from NASA’s Goddard Space Flight Centre Scientific Visualisation Studio. The animation depicts the breakup of the Ayles Ice Shelf in Canada’s Ellesmere Island on August 13, 2005. More than 90% of the ice cap has been lost. The piece shown in the animation is equivalent in size to approximately 11,000 football fields. The Canadian Arctic is experiencing the highest degree of climate change on the planet.
– Michael Alstad
Have we overlooked one of the largest factors in global climate change? Methane is an eye-opening and devastating portrait of the livestock industry as a main producer of greenhouse gas emissions. Our contribution to a destabilizing climate does not stop at the toxins being dispensed into the water and air, but includes the animal products we farm and consume. Alstad emphasizes a circuit between the unnatural living environments of stockyards, ensuing environmental damage, and the Arctic ecosystems that are impacted. Though the footage is shocking, the real cause for alarm—and motivation for immediate action—lies in the causal relationship that is exposed. Why has this link been so often ignored or concealed? What other aspects of the debate have been deliberately left in the dark?
March 13, 2007 at 8:05 pm · Filed under Art, New Work, Natural/Artificial, Lisa Young, Time, Atmosphere
New work made for New Climates
Permalink
Higher-res version
During the calendar year 2001, I took a photograph of the sky each morning when I awoke. The resulting 365 photographs softly fade into one another, collapsing 12 months of time into a 12 minute video. The subtle relationships between the varied blue skies (some with clouds, others depicting an occasional airplane) are created both by a predetermined structure (the calendar) and elements of chance (changing weather conditions).
– Lisa Young
Calendar, by Lisa Young, presents an image of our climate for each day of one year, which have been strung together to form a video slideshow produced for this exhibition. Through this process-based experiment, she draws our attention to the ways in which our impressions of the natural world have been artificially structured by a timekeeping regime. In fact, climate “change” as we experience it is filtered through the larger concepts of temporality and chronology. How does natural, geologic or cosmic time synchronize or desynchronize with culturally constructed time? How should one monitor, record and preserve images of the ephemeral climate? Besides being a diligent record of a year in atmospheric shifts, Calendar is also reminiscent of Yoko Ono’s Sky TV (1966) in that it produces a sublime effect through its seemingly endless display of minimal skyscapes.