Showing posts with label Climate Change. Show all posts
Showing posts with label Climate Change. Show all posts

09 February 2025

 


New Scientist 6th February 1975. Vol 65 No 935.

6th February 1975 was something of a watershed moment in Earth Science and its relationship to the public. Not one but two articles in New Scientist that week featured James Lovelock. The first, co-authored by Lovelock with Dr Sidney Epton, outlined the  Gaia hypothesis, and the second written by Martin Sherwood was a profile of “Jim Lovelock” and his wider scientific and technological achievements.

The Quest for Gaia has the useful sub heading “Do the Earth's living matter, air, oceans and land surface form part of a giant system which could be seen as a single organism? Could man's activities reduce such a system's options so that it is no longer able to exert sufficient control to stay stable?”

In 1975 It had been long believed that distinct ecologies had populations of species that were adapted to the geological and climatic conditions of their environment but James Lovelock suggested that this was a two way process, with living organisms collectivily combining micro-forces to effectively engineer the atmosphere and the oceans as well as maintaining them within ranges of temperature and salinity that are favourable to life. The article is careful to refer to the Gaia concept as a hypothesis and not a theory, as no planetary scale experiments are possible, although it could be argued that the increase in atmospheric carbon dioxide levels that we worry about now are a kind of accidental test with unpredictable results.

The Gaia hypothesis remains controversial today. Opinion ranges from enthusiastic comparison with the Copernican revolution in astronomy to dismissal of Gaia as new age mysticism, but for the majority of scientists in the middle James Lovelock's work has given a tremendous impetus to Earth systems science.

Lovelock was clear about the complexity of earth systems and the challenge of understanding their exact functioning. "Gaia is still a hypothesis. The facts and speculations in this article and others that we have assembles corroborate but do not prove her existence but, like all useful theories right or wrong, Gaia suggests new questions which may throw light on old ones.” Lovelock then went on to describe how the oxygen produced by photosynthesis, early in Earth's history, would have been toxic to the majority of living organisms. The availability of oxygen subsequently made possible the evolution of more complex life. From the perspective of 1975, the capacity of humans to create a pollution problem as damaging as the 'great oxidation event' seemed quite trivial by comparison, but Lovelock had a warning for the future. “If one showed a control engineer a graph of the Earth's mean temperature against time over the past million years, he would no doubt remark that it represented the behaviour of a system in which serious instabilities could develop but which had never gone out of control. One of the laws of system control is that if a system is to maintain stability it must possess adequate variety of response, that is, have at least as many ways of countering outside disturbances as there are outside disturbances to act on it.”

In one eloquent paragraph James Lovelock explained that the need to maintain biodiversity was not to meet an aesthetic ideal. The survival of humans depends on the continued functioning of Earth systems which have complexities that we may not understand.

Pages 313 to 315 of issue 935 features Cosmic gamma-ray bursts by Dr Andrew Fabian and Dr James Pringle. “ Transient phenomena are becoming a natural aspect of high-energy astrophysics. In recent months short bursts of gamma rays have been observed from a number of space platforms, leaving theorists perplexed- although not altogether tongue-tied – as to their origin”

In 1975 mysterious bursts of gamma rays lasting about ten seconds emanating from space were mysterious as no known astronomical objects were known to be located at their points of origin. The open question was made more intriguing by the accidental nature of their discovery. The 1963 Partial Test Ban Treaty forbade the atmospheric (surface) testing of Nuclear and thermonuclear weapons, and five Vela satellites were placed in Earth orbit to detect gamma rays from any clandestine explosions. As soon as the satellites registered gamma rays the events would have been taken very seriously.

Although the satellites were launched one week after the implementation of the treaty it was ten years before the detection of the Gamma ray bursts was revealed. “R.W. Klebesadel, I.B. Strong and R.A. Olson of the Los Alamos Scientific Laboratory announced the discovery of the first 16 cosmic gamma-ray bursts in 1973. Since then another eight or so have been reported, as well as other sightings of several bursts by detectors on OGO-3, IMP-6, OSO-7 and the Apollo16. This last system, in the Apollo 16 command module, was designed for determining lunar surface composition by by fluorescence techniques.”

By triangulating from the different arrival times of the gamma ray bursts at different satellites, it was initially determined that they emanated from beyond the solar system and the burst that was detected by satellites as well as the Apollo 16 astronauts orbiting the moon was traced to region away from the plane of the Milky Way and close to the Small Magellanic Cloud. From the perspective of 1975, the mystery surrounding gamma ray bursts was compounded by the lack of data. The success of triangulation from the arrival times of bursts at the positions of different satellites was limited by timing errors, which resulted in the search zones 15 degrees wide. Theories ranged from comets plunging into neutron starts, through star quakes and super flares, to nuclear holocausts resulting from global warfare on alien planets.



27 August 2022

Lost in Landscape.



Nottinghamshire is the result of 
gravel extraction that has left
behind flooded areas that are now 
managed by a wildlife conservation
charity. In this Anthropocene epoch
human activity moves more material
than rivers and glaciers. Humans have
become a geological force. Climate
change means that no corner of the
Earth is unaffected. No landscape
can be though of as truly 'authentic'.     

We are familiar with the possibility of getting lost in a landscape but the Anthropocene epoch, the present time in which humans have effectively overridden nature, presents a way of being metaphorically lost in the increasingly artificial world that we are creating by our own technological power. Ideas of nature are as much a product of imagination as landscape pictures. While we believe that we have a relationship with an objectively real world, there is a race between the discovery of its hidden intricacies and the rate at which agriculture and industry is transforming it. The defining characteristic of the 21st century will be the relentless replacement of the natural world by the built-environment, agriculture, synthetic biology and waste materials. Humans are responsible for a new mass extinction event. The expansion of agriculture and globalised consumerism is moving the world towards a homogenised biosphere in which the concept of 'invasive species' will no longer be meaningful. Biomass may remain broadly the same as the number of species within it diminishes. Biodiversity is reduced and Earth systems are being pushed to tipping points beyond which they will operate in new and unpredictable ways. 

The tradition of western landscape art has been complicit in this process. 
Bucolic landscape scenes depicted actual landscapes as constructed 
Flatford Mill c 1816 John Constable
The son of a wealthy corn merchant,
Constable's early paintings exhibit an
affection for the area in which he lived.
His landscapes belong to an era when
commerce was on such a small scale
it could operate in sympathy with nature.
Today, his paintings are part of a nostalgia
'industry' of which tourism is a very real
economic part. Hill farming subsidies
in the UK are partly paid to maintain
farms in the appearance made familiar by
landscape art. The grazing on hill farms
keeps the land free from vegetation that 
would help to reduce flooding and absorb 
carbon dioxide.
achievements that were a combination of providence and virtuous labour. The picturesque sub-genre of landscape art provides a dream of nature, in which the desire to exploit the landscape operates in harmony with a reduced form of wilderness in the form of woods and distant hills. Within landscape art there is no real difference between agriculture and nature.  This still popular aesthetic of the picturesque landscape picture (painted or photographed) suggests that as long as there are a few corners of the world that are still wild, all will be well. Actually, the impact of human activity on Earth systems occurs on a scale that is outside the scope of any single picture. Carbon dioxide emissions are not only increasing global temperatures, they are also acidifying oceans. Methane emissions from cattle also act as a greenhouse gas. It is possible that humans are now driving evolution and creating some new species as well as pushing many more to extinction. Inevitably technology in the 21st century will be used to try to navigate the Anthropocene. Attempts to use genetic engineering to modify not just crops but entire ecosystems to cope with climate change are being considered. The genes that control photosynthesis may be changed so that more carbon dioxide is removed from the air. Machines to capture the gas and store it underground already exist. Nostalgic landscape art is no longer a reflection of life.

Since the iconic Picture 51 x-ray
diffraction photograph was made
by Rosalind Franklin in 1952 the
discovery of the structure of DNA,
which the picture enabled, has resulted
in the invention of genome editing 
technology which will alter plants to
use more carbon dioxide from the air.
Eventually entire ecosystems could be
altered, either to help plants cope with
climate change or to try to return 
atmospheric CO2 levels to pre-
industrial values.


The 21st century needs a new genre of art that contemplates the changing distinction between the natural world and technology as well as acknowledging that the 'technological sublime' is now as eloquent as 'sublime nature' was in Edmund Burke's time. The extent to which contemporary art is characterised by detachment, coolness and irony is unhelpful in this direction. The expectation that minimalism can distill the essence of what is significant into a few lines or shapes goes unfulfilled. Visual art could provide a critical context to the exercise of control over nature by creating opportunities for contemplation and reverie and to momentarily step back from the language of institutions, writers and journalists. Landscapes will change as livestock becomes less prominent in agriculture. Opposing practices of permaculture versus intensive agriculture, including industrialised 'vertical farming' and the production of cultured meat in bioreactors, will probably operate at the same time in different places. While permaculture aims to reduce the impact of food production on nature, paradoxically, industrialised farming concentrated in smaller areas opens the possibility of rewilding and the return of farmland to carbon-sink wetland. Wind and solar energy will become
There is no guarantee that thermonuclear
fusion can be used as a source of electricity.
If a way of harnessing the heat released by
fusing protons together is found it could be
the most significant technical innovation 
since the discovery of how to make fire. 
Fusion power would not eliminate the need
for solar, tidal, geothermal and wind energy,
but the surplus capacity could be used to 
mechanically extract carbon dioxide from
the atmosphere, liquefy it and store it 
underground. Whoever controlled access to 
these underground stores would effectively
have their hand on the 'global thermostat'.
In some distant future the gas could be
released to negate the onset of an ice-age.
 more common. Controlled thermonuclear fusion, if it works, will effectively create artificial suns on Earth.  The diffusing boundary between naturalness and artifice will be the most important subject for art in the 21st century, creating the impetus for a new aesthetic in art as almost the entire world becomes a kind of walled garden with wilderness confined to ever-decreasing pockets - an exact reversal of the medieval hortus conclusus or ancient paradeisos.     


  
A winter garden under cover painted by Franz Antoine in 1852.
The glass-enclosed space is perhaps the ultimate form of a garden
in which the air itself is protected from cold.

Before landscape art evolved from narrative driven history 
painting, walled gardens such as the European Hortus Conclusus
and the  Paradeisos of Egypt and Persia were culturally important
means of maintaining a shared understanding and interpretation
of nature. The ordering of space can serve as metaphor for the 
construction of meaning in general, and the creation of a garden
is specifically symbolic of a belief in an underlying order behind
nature.

A paradox of our age is that although our arrangements of fields,
orchards and herb gardens were created to save what we value
from harm, it is wilderness that is now in need of protection. 
Humans now manage 75% of land that is not ice-bound. What
was once thought of as threatening is now itself in danger. It can
now be understood that although uncultivated nature was once 
seen as randomness it is in fact composed of dynamic 
relationships of organisms in complex ecological communities.

The future will bring increasing ability to alter nature. Genome
editing, synthetic biology and possibly nano-technology that
will join atoms together to form new compounds without chemical
reactions, will define the 21st century. It is over ambitions to 
expect art to reflect all of this, but the active border between 
nature and technology, the actual location of choices, will be 
a subject as significant as landscape was from the 17th century
to the 19th century. Metaphorically, the point of contact between 
nature and technology will be like a weather front dividing 
air-masses. This active zone of interaction will give rise to the 
most interesting art.


  • LOST IN LANDSCAPE
  • ISBN
    • Hardcover, Dust Jacket: 9798210452474
    • Hardcover, ImageWrap: 9798210452467
    • Softcover: 9798210452450

 
                                   https://www.blurb.co.uk/b/11200757-lost-in-landscape-john-stockton


21 May 2021

Utopias - 9





On the 26th September 1991, a team of four men and four women, watched by international press and television reporters, sealed themselves into what was essentially a huge terrarium called Biosphere 2.  Built over three years at a site in Oracle, Arizona, the project was expected to demonstrate that a working scale-model of the Earth's biosphere could sustain a space colony with not just food but also air and water.  The air-tight environment was built on the scale of the Royal Botanic Gardens, Kew. To emulate the
Biosphere 2. The sealed environment was
divided into sections called 'biomes' and
can be regarded as a research facility to
test the viability of future self- supporting
space colonies and as a conceptual
art project foregrounding the complexity
of our biological and agricultural world.

entirety of the biological world the 1.27 hectare enclosure was covered by a glass and steel space-frame and divided into areas; rain-forest, ocean (with a coral reef), mangrove marsh, savanna, fog desert and an agricultural area. 

Biosphere 2 was the home for the volunteers for two years during which time they had to grow all their own food,  undertake a host of scientific measurements and (paradoxically) maintain the wilderness areas. The atmosphere was monitored every 15 minutes by 2000 sensors and the entire artificial environment was controlled by a computer and a nearby 'mission control'. Periods of rain were programmed and artificial waves created in the 'ocean'. Distinct climatic zones were emulated in different sections by heating, cooling, drying and humidifying the air.


The Bios 3 underground 
research facility in
Krasnoyarsk, Russia
Between 1972 and 1984 three 
people were able to live in
the 315 cubic metre
sealed environment with
25 % of oxygen supplied
by algae and wheat plants.
 The designers of Biosphere 2 attempted to encapsulate as many of the physical aspects of the Earth as possible. It was not the first experiment to use algae or plants to keep humans alive in a closed environment, but it was the first attempt at making a working model of the Earth's biosphere. In 1979 James Lovelock proposed that the totality of Earth systems form a self-regulating whole, which he named Gaia. (1) Although photosynthesising oxygen, Biosphere 2 could not  maintain temperatures as Earth systems do, and so the project used extensive underground air-management systems run by a gas-powered energy unit. 

Biosphere 2 was subsequently criticised for being unscientific because the 'biospherian' crew were not all qualified as scientists. This judgement ignored the fact that the first astronauts were test-pilots. The Skylab solar telescope was operated from 1973 to 1974 for hundreds of hours by astronauts who were not astronomers. It was also suggested that the project pursued a subjective 'new age' agenda. Some biospherians were from a performance background and they had previously worked with the designers of Biosphere 2, businessman and inventor Ed Bass and 'systems ecologist' John P. Allen, at a counter-cultural community known as the Synergia Ranch 


The United States pavilion
at the Expo 67 fair in Quebec.
Buckminster Fuller pioneered
the use of geodesic domes as
efficient structures covering
the greatest volume with the
optimum about of material
.
This overlapping of interests came from the zeitgeist of the 1960s. Inspired by the work of Buckminster Fuller, Ed  Bass and John Allen were influenced by the concept of 'design science exploration' which resists categorisation as either architecture or engineering and emphasizes the application of ingenuity over the marshaling of huge resources. Instead of regarding Biosphere 2 as a single experiment that could succeed or fail, it is more appropriate to understand it as a laboratory for multiple investigations. (2) The project could even fit within the definition of art, as chosen by Susan Sontag.

In her 1965 essay One culture and the new sensibility. Sontag wrote that the function of art was "giving pleasure and educating conscience and sensibility." Biosphere 2 may sit at the end of a spectrum of creations that might be considered art. The situation of its occupants was similar to that of the crew of a submarine as they lived with a fixed volume of air. Their personal effects had to be vetted as soap, shampoo, paint or glue that contained chemicals that could accumulate in the air were not allowed. This issue, along with many others raised by living in a microcosm, commented on life in the real world. Biosphere 2 blurred the distinction between science, engineering and performance art.

1. The Intensive Agriculture Biome in which the 'biospherian' crew produced their food.
2. The display screen on which data from 2000 sensors was displayed.
3. Although the ambition of Biosphere 2 was to emulate the process by which oxygen is replenished in the air by plants, it was necessary to use extensive electrical and mechanical systems to control temperate, create rainfall, control salinity of water bodies, remove algae from the 'rivers' and 'seas', as well as pumping water. The systems were monitored by engineers in
a nearby control centre, but maintained by the isolating crew.
4. The wilderness area was also maintained by the crew, pointing towards the 21st century when even non-cultivated areas may need to be helped to adapt to climate change.

The single greatest achievement of Biosphere 2 was to clarify the relationship between people and the actual biosphere. By attempting to live in a minuscule version of the entirety of Earth systems, the project highlighted problems that we face today. Population growth has changed the ratio of space that is occupied by humans, relative to wilderness, so as to approach that of biosphere 2.  We can no longer assume that waste is diluted by air and water to a level of insignificance. Human influence on Earth systems has increased to such a degree that we are now in a new geological era, the Anthropocene, 

Diamond mining. From the
first creation of ceramics
26,000 years ago, exploitation
of resources has expanded
to such an extent that
 humans can now be regarded
 as a geological force.
Within the limited definition of nature that excludes physics it is evident that economic activity is the main cause of species extinction. Within the wider definition of nature that includes physics; the change to the heat balance of the Earth caused by industrial carbon dioxide and methane
Open cast mine in Bohemia.
Humans move more material
around the Earth than glaciers
and rivers
emissions; and the discovery that humans move more material through mining, dredging and construction than the action of glaciers and rivers, means that 
humans are now a geological force on a planetary scale. During the first two 'missions' of biosphere 2 the crew had to manage every area of the space including the ocean, and the wilderness area. Their situation was similar to ours today.

The extent of environmental transformation and of global warming may require change not only to our modes of industry and agriculture but also the management of what used to be regarded as wilderness. Climate change may occur faster than plant species can migrate. The capacity to move bio-communities by transplanting species will be explored.(3) A more radical option would be to use CRISPR gene editing to adapt plants to new climates, or even increase the efficiency of photosynthesis so as to remove more carbon dioxide from the air. It is possible that we are already creating new species and driving evolution by changing environments. 

An arena will open up between the permaculture ideal of leaving as little trace on the Earth as possible and the technological ethos of genetic editing and geoengineering projects to mitigate climate change. Biosphere 2 presaged today's need for nuanced consideration of the interaction between artifice and nature - art that is not 'moral journalism'. In the 20th century a shared conception of landscape fragmented as nature disappeared into the laboratory and artists ended the distinction between content and style. The cultural baggage of landscape art; the sublime, the picturesque, numinist and symbolist imagery, was largely forgotten.  








TOP: Sub-atomic particles revealed in a bubble-chamber. The paths of the emerging particles are only partially constrained by the magnetic field within the walls of the chamber.

BOTTOM: Blue Poles by Jackson Pollock. His method of applying paint to a horizontal canvas on the floor of his studio created an 'all over' effect suggesting that the pictures are a small window on a greater field, seething with energy. Pollock's 'action' paintings often seem to resent the limiting borders of the canvas.

Since the Renaissance art and science have gradually drifted apart, with a few notable exceptions. For a few years in the period of impressionist painting it appeared that some artists' interests in the perception of colour overlapped with scientists' investigations of light. Some commentators have seen links between Einsteins theory of relativity and cubist art. Art came to concentrate more closely on subjective experiences as physics delved ever deeper into nature at the level of the sub-atomic. The divergence of art and science is illustrated by the Festival Pattern Group which was tasked with using images from x-ray crystallography to inspire work for the 1951 Festival of Britain exhibition. The studies that the group made resulted in designs they were used for craft and not art (as defined by contemporary art critics and galleries).

Jackson Pollock's belief that abstract expressionist painting resulted from a relationship between the creative process and fundamental aspects of nature relates to the title of Leo Szilard's paper "On the decrease of entropy in a thermodynamic system by the intervention of intelligent beings". His paintings suggest the emergence of significant forms created from energy. Photographs of sub-atomic particles and Pollock's painting suggest the limitless and therefore sublime aspect of nature.
  


1. Michael Heizer - Double NegativeMormon Mesa, northwest of Overton, Nevada in 1969-70.
2. Michael Heizer - displaced/replaced mass . Nevada. 1969
3. Michael Heizer - Circular Surface drawing - El Mirage Dry Lake, Mojave Desert, CA (ephemeral tracks created by motorcycle)
Land art constructions in the desert of the United States were a relisation of new directions in art that Susan Sontag described in her 1965 essay one culture and the new sensibility. Deliberately avoiding the emotional and cultural associations of landscape art, the constructions display a cool aloofness associated with conceptual art. Philosophers such as Hegel have argued that the beauty of ideas would eventually replace the need for visual art, but Land Art, while classifiable as conceptual art, escapes from this ideological cage by existing more as photographs and films/videos than pure ideas related by words. Pictures of land art constructions provide an aesthetic pleasure of their own, while the original creations continue to exist. Apart from ephemeral land art, the sites of these works can be regarded as both destinations for a pilgrimage and a touristic visitor attraction, like preserved Hollywood sets that become theme parks.

        

For art historians, the post-modern 'coolness' of the land art movement in the 1970s was full-stop to the genre of landscape art, but  it took place against a background of political turmoil. Robert Smithson produced his project Partially Buried Woodshed at Kent State University in January 1970. Later that year on the campus nine students were shot and four were killed by members of the National Guard during a Vietnam War protest. The emergence of the environmental movement from the Vietnam War protests was stimulated by the use of defoliant chemicals to deny cover for the Vietcong army. The dioxin by-product in the 'agent orange' sprayed by aircraft over huge areas left a toxic, carcinogenic and mutagenic legacy. 


1. Partially buried woodshed - An early land art experiment created at Kent State University by Robert Smithson January 1970.
2. Kent state University 4th May 1970. Four students were killed and nine students were wounded by the Ohio National Guard during a Vietnam War protest.
3. Aircraft spraying 'agent orange' defoliant in Vietnam. 

The unforeseen juxtaposition of Robert Smithson's partially buried woodshed and the shooting of thirteen students at Kent State University in the same year is a painful reminder that art does not operate in a vacuum, isolated from the society that ultimately funds it and provides an audience for it. The land art 'movement' of the 1970s was an implicit elision of landscape art that was associated with conservative values and privilege. Abstract art that occupied the attention of the art world between impressionism and the 1970s was influenced by the idea that aesthetic feelings for non-representational compositions arose from shared psychological processes, not dependent on race or class, that could contribute to 'universal' values that were implicitly socialist in nature. Before the Second World Was several abstract artists including Piet Mondrian and to a lesser extent Jackson Pollock took the idea of the psychological basis of creativity much further by involvement in the the quasi-religion Theosophy. Identifying the dividing line between mysticism and a poetic response to nature will remain a challenge for artists in the 21st century. 

In this century thermonuclear fusion could generate enough electricity to sequester carbon dioxide from the air. On a scale far greater than the defoliation of trees in Vietnam, the project would reverse global warming and allow us to release the gas at the onset of a future ice-age. Having a hand on the world's thermostat, we would be essentially 'flying the planet'. In the 21st century art cannot be limited to the rhetoric of protest movements. It could elucidate what we mean by the word 'nature' in a world shaped by synthetic biology and geoengineering.





1.Chloroplasts are the sites of photosynthesis in plants. They are controlled by genes that may be edited in the future so as to increase the removal of carbon dioxide from the atmosphere by 20%.
2Lancelot 'Capability' Brown  championed the practice of creating idealised landscapes within the estates of wealthy landowners. The modification of landscapes to match the ideal of romanticised landscape paintings was eventually extended to great public parks such as Central Park in New York. In the 21st century it may be considered necessary to modify what is currently regarded as natural bio-communities so as to adapt them to climate change and extract more carbon dioxide from the air.
3. In 1952 Stanley Miller created compounds associated with living organisms by passing an electric charge through a flask containing a mixture of gasses created to emulate the atmosphere of the Earth soon after its formation.     
4. After Stanley Miller's experiments created the basic building blocks of life it was briefly thought that life could be created in a 'second genesis' in the laboratory. This has proved to be beyond present capabilities, but radical modifications of existing cells with entirely synthesised genes has been accomplished. Although there is a large gap between Stanley Miller's creation of chemical precursors to life and the modification of existing cells, the cultural significance of the changing distinctions between naturally occurring systems and engineered systems will be a major subject for art in the 21st century. 


Climate engineering

The choices that are to be made in the 21st century around climate change and the Anthropocene are creating a need for an art of nature that moves on from the traditions of landscape art to respond to evolving values around artifice and naturalness. One challenge will be to remain distinct from both new-age mysticism and techno-utopianism. 


























References from main text:

(1) Lovelock, James. Gaia : A New Look at Life on Earth. Oxford: Oxford UP, 1979. 

(2) Alling, Abigail., Mark. Nelson, and Sally. Silverstone. Life under Glass : The inside Story of Biosphere 2. Oracle, AZ: Biosphere, 1993


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06 March 2021

18 September 2015

Utopias - 1





If Land Art marks an end to the history of landscape art, it seems fitting that many of the constructions that characterise that 'ultimate' form are in desert locations (the antithesis of pastoralism) such as Arizona in the United States.

http://www.blurb.co.uk/b/6474500-utopias-1-pictures-of-elsewhere

11 January 2013

Fauxscape


Since its emergence from the domination of history painting in the 16th century, landscape art rose to high fashion in the 19th century and back to such relative obscurity that now the indexes of many art history books do not list it.