Ecoart in Action – Provocations to Creative Engagement

In their third collaborative post reviewing Ecoart in Action, artists Claire AthertonBeckie Leach, Genevieve Rudd and Nicky Saunter explore the provocations this book offers for ecoart practices and discourse — complementing their earlier discussions on the book’s activities and case studies.


2,100 words: estimated reading time = 8 minutes + optional 20-minute video


In their previous collaborative posts on this book, participatory arts practitioner Claire Atherton, teacher and storyteller Beckie Leach, environmental community arts projects leader Genevieve Rudd, and entrepreneurial thinker and practical activist Nicky Saunter reviewed the earlier sections, which provide ecoart activities and case studies from around the world. The book ends with this section — a series of provocations where contributors from the international Ecoart Network focus on theories underpinning ecoart practices, offering ideas for creativity in different learning environments and communities. As you will see in their video discussion, our four artist-reviewers found many opportunities in the wide-ranging provocations on offer.

The full set of eleven provocations is:

— Allodoxic Interventions as a Form of Ecoart
— Ecoartists as Key Educators in Eco-Transdisciplinary Learning
— A Framework for Ecosocial Art Practice: Integrating Guattari’s Ecosophy and Action Research
— The Art of Inquiry: A Learning Manifesto
— Collaboration, Complexity, and Systems Change: Interview with Newton Harrison
— Village Triangles: Complexity with and Beyond Systems Thinking
— The Role of Life-Centered Learning and Interdependency in an Interdisciplinary Curriculum
— Curating Ecoart Practices: Interview with Amy Lipton
— Scores for Climate Justice
— Organizing the Approach to Sensitive Conditions: Applying a Boolean Analysis to Trigger Point Theory as Aesthetic Activism
— A Call to Embrace Ecological Grief

Validation and realisation

Claire and Nicky both selected Hans Dieleman’s Ecoartists as Key Educators in Eco-Transdisciplinary Learning. For Claire, the piece resonated strongly: “The whole provocation to me felt like a massive validation. Yes, finally someone gets the relevance, the point of what I’m actually doing! So I just read the whole thing with a huge smile on my face.” For Nicky, this provocation had meaning because of a lack she perceives in modern education:

“I had enormous freedom as a child. I was given the ‘bones structure’ of how to do something and then sent off to play quite a lot, which children today seem to rarely get outside of Forest School. I’ve come to realise more and more that for some children the whole of school is just not a good idea … I love the fact that at some point in there, he says artists have the ’embodied and enacted knowing’, so they are key. I thought that’s interesting, that’s where I feel the connection to it. Yes, I feel that that for me is not difficult, it’s effortless — and trying to explain it to other people is so hard.”

Nicky also highlighted Newton Harrison’s Collaboration, Complexity, and Systems Change as a good example of using an interview to convey the value of collaborative approaches and as an alternative format among the more essay-like pieces: “I liked the fact that it was written as an interview; I found it easier to read than a piece of text if the text had been that long.”

And Beckie also chose this example to focus on, sharing that she was attracted to Newton and Helen Harrison’s work together as artists. “That was why I went to it because I’m really interested in how you do more collaboration around ecoart, and work with people so you can bounce off them and not do things alone. I think that’s a really important way forward for art. It’s not doing things in isolation, it’s doing things in community, and it’s working against that whole myth of the artist being this solo creative genius doing things on their own — that doesn’t work in the world in the same way anymore.”

Provocations to collaboration. Showing 'Wish jars' (2018), a collaborative performance. Photograph: Beckie Leach.
‘Wish jars’ (2018) A collaborative performance. Photograph: Beckie Leach © 2018.

Ecoart creativity for grief and love

Genevieve chose Ruth Wallen’s A Call to Embrace Ecological Grief, having also looked at  Ecoartists as Key Educators in Eco-Transdisciplinary Learning. Whereas the latter offered a boost, speaking to the value of the practice, the provocation on ecological grief “spoke to something deeper in me. … It made me think of the work of ONCA and the Remembrance of Lost Species Day and that sense of ritual practice.

“And this feels like it’s coming from a very different direction, really facing that pain, that difficulty, and the total avoidance of that that happens a lot. This feels like the real guts of it … It’s hard and it’s scary. And I think the framing of this as the last piece in the book felt really powerful. … This is our real lived experience, loss. There it is, at the end of the book, before the bibliography, the closing of the book. The quiet power of that.”

This sparked a very interesting series of reflections between all four on our approaches to death — of people, of habitats and species — and how art might have a role in dealing with these endings. Might ecoartists create rituals for loss, for example, maybe taking provocations from the book as a way into using or developing some of its earlier activities and case studies? Beckie reflected that “This is why a lot of us do it. It’s at the heart of why most of us are here. And I feel like there’s this incredibly fine line between grief and love, where they’re always intertwined. How do you get into the heart of that when it’s culturally avoided? … Drawing that out with some compassion and some humour is a very tricky but potentially beautiful thing.”

 

From provocations back to activities

Reflecting on this section as a whole, Claire said that although the text of some of the provocations might seem wordy and “you do have to sit in a quiet space with a cup of tea where no one’s going to interrupt you … once you get into that it kind of takes you somewhere, I think: it is a provocation, like a space where you enter … It feels different to the other two sections in the sense that I think I could have just sat there with a notepad and pen and made loads of mind maps…”

Provocations to creativity. Showing land art on the beach, created by a workshop group in 'Coasters' (a project by Genevieve Rudd). Photograph by Claire Atherton.
Land art on the beach – created by a workshop group in ‘Coasters’ (a project by Genevieve Rudd). Photograph: Claire Atherton © 2022

And delving into the final section of a book like this does naturally invite reflections on the book as a whole and on this shared experience of it, as Beckie, Claire, Genevieve and Nicky did in the final part of their time together. This was also an opportunity to think about how the book might be updated or adapted in ways that fellow artists might find even more valuable.

Nicky: “I think it’s a really, really good resource, and I know that over time I will go back and look up some more of the people and the ideas. I really enjoyed, last time [the case studies] going in more deeply and looking them up to see these people speaking about their work and to see examples. That’s been an absolute joy. I wondered if it would be nice with each case study, if it would be possible, to have a short interviewy bit with the person who’d written it, just to find out what drives them.”

Beckie: “I think I love this book. And really I love the process of doing this together as well. I feel like I’ve got so much out of the different bits we’ve all chosen and the different ways we’ve gone into it and interpreted it. I would like a map for this book. I think I find it a bit overwhelming, that it is so big and so full of text and I don’t know where to start. And when you’ve pulled back the layers, it’s so deep and it’s so rich and there are so many gems in there — but I don’t see it when I flick through. And I have a tendency to read books backwards, so sometimes I want pictures and I want a map, something to just grab me a little bit and pull me into a page. There’s so many amazing ideas in here and I’m excited to read more of them, and I’m just thinking about the best way to dip into it for me, as well.”

Genevieve: “A book like this usually takes me years to read. I am a slow reader. Doing it all together has really brought it alive and I really love the process. This would be perfect as a ‘book club’ book. Trying out the different workshop sessions on each other — that could be another way that other audiences could connect with it. It is a lot, but it feels like something I want to keep going back to.”

Claire: “I am a visual learner so the fact there are so few pictures. … Something to help guide you through, because it is so huge… I do think the accessibility of it for people who are dyslexic or neurodiverse or come at things from a different perspective and maybe aren’t able to sit and read loads and loads of text, that could be a barrier that I do think we need to acknowledge. So, some keys or some guides or maps.”

Nicky: “They do have the themes that they’ve pulled out, but don’t give you the ability to look through by themes. On an online book you could do that: you could use them as tags and look back. You could colour code those. It’s interesting, isn’t it, that the cover is so colourful and the book is so uncolourful?”

Beckie: “It’s not a comment on the quality of the book, because there’s so much in it: it’s like an addition.”

All four saw the book as a starting point, a help when thinking through future activities, but also a great support in terms of offering contexts for their practices and evidence of the great heritage that the work of ecoartists offers internationally — as well as a stimulus for rich conversations such as these in the shared review process. In a sense perhaps, the book acts as one of its own provocations: a collaborative practice that has brought together a mix of approaches in theories and examples that offer valuable insight and stimulus.

As Nicky observes: “Art is part of our shared culture and at all levels it contributes to the ongoing conversation by reaching parts that other methods just don’t permeate. We believe because we feel, and art helps us to communicate and sense emotions. Ecoart is providing a vital bridge between us and the rest of nature. We seem unable to stop our destructive behaviour through factual knowledge alone; we need to feel it in our bones.”

Provocations to Joy. Showing a collage created by Nicky Saunter during covid lockdown.
JOY. Collage produced during lockdown. Nicky Saunter © 2021

***

Completing this phase of what promises to be an ongoing conversation between them, our four artist-reviewers came up with a provocation of their own to share. Beckie, Claire, Genevieve and Nicky hope that you will find in this a way to recognise, reflect and move on with experiences of ecological loss in your own neighbourhood and the grief this entails.

Make space to notice and connect with ecological loss. Where is this happening in your local patch? In gardens, public spaces, high streets or developed land, for example.

Create a simple ritual to honour the moment — such as a sipping on a foraged tea, creating a ‘gathered material’ mandala, walking barefoot or scattering (native, environment-appropriate) seeds. The ‘right’ ritual will emerge as you spend time in the space of loss. Remember to take good care — of yourself, of others, of the place you are in — as you embark on this discovery.

And, when your ritual encounter with this loss has settled in the moment, look also for something that offers you hope. Something nearby, on the ground or water, among plants or trees, or in the sky. Whether ‘human’ or ‘natural’, mark this sign of ecological hope amidst grief.

Provocations to hope. Showing a rainbow over the North Sea and eroding cliffs in Suffolk". Photograph by Genevieve Rudd.
“A rainbow, for hope, over the North Sea and eroding cliffs at Corton, Suffolk” (March 2023). Photograph: Genevieve Rudd © 2023

Find out more

Ecoart in Action: Activities, Case Studies, and Provocations for Classrooms and Communities, edited by Amara Geffen, Ann Rosenthal, Chris Fremantle, and Aviva Rahmani (2022) is published by New Village Press (outside the USA, published here). It is compiled from 67 members of the Ecoart Network, a group of more than 200 internationally established practitioners. The book is also available as an ebook, which may be an easier format to navigate between the various themes for some users. The Ecoart website includes discussion on the book and its ideas, with recordings from various events with various contributors and other Ecoart members.

In Ecoart Activities – Working With Place & People, Beckie, Claire, Genevieve and Nicky review the book’s first section, which offers 25 different ecoart activities.

In Ecoart Case Studies – Theory into Practice, they share their responses to Section 2, which offers 26 case studies.

You can find out more about Remembrance Day for Lost Species (30th November) and the work that ONCA, amongst others, does to mark this day of art and activism.

Claire Atherton

Claire Atherton

An artist inspired by nature and using paint, clay, fabric and natural materials to explore how we intuitively respond to nature and the environment around us.
Read More

Beckie Leach

Beckie Leach

An artist, teacher and storyteller creating experiences for participation with the natural environment, and training as a facilitator in deep listening and the work that reconnects.
Read More

Genevieve Rudd

Genevieve Rudd

An artist exploring time and seasons using Cyanotype and Anthotype photographic techniques and leading heritage and environmental community arts projects through drawing, textiles and found materials
Read More

Nicky Saunter

Nicky Saunter

An entrepreneurial thinker, practical activist and campaigner, and creative artist who is driven by what we can do rather than what we cannot change.
Read More

Ecoart Case Studies – Theory into Practice

In the second of three collaborative posts reviewing Ecoart in Action, artists Claire AthertonBeckie Leach, Genevieve Rudd and Nicky Saunter find plenty to discuss in a sample of the book’s rich collection of international ecoart case studies, complementing its earlier activities.


2,000 words: estimated reading time = 8 minutes + optional 18-minute video


The book Ecoart in Action: Activities, Case Studies, and Provocations for Classrooms and Communities has contributions from 67 members of the Ecoart Network, a group of more than 200 internationally established practitioners. This is the second part of a three-part review from four members of the ClimateCultures network, conducted as a set of conversations and short personal texts.

In their first post — Ecoart Activities – Working With Place & People — participatory arts practitioner Claire Atherton, teacher and storyteller Beckie Leach, environmental community arts projects leader Genevieve Rudd and entrepreneurial thinker and practical activist Nicky Saunter looked at some of the book’s 25 suggested activities and shared their experiences trying some of them. They’ve since met again on Zoom to share their thoughts on Section 2 of the book, which offers a wide range of 26 case studies from around the world.

As with the ecoart activities they discussed last time, part of the value of this conversational approach has been the different affinities and interests that our four reviewers bring to the exercise and the different access points they find in the case studies. The book’s intended audience is, of course, very diverse in terms of practices, backgrounds and areas of focus, and different readers will want to apply their learning from the case studies in different ways.

Free range conversation

While one of our artists read all the case studies to explore the range of theories and approaches, others flicked through, picking one or two case studies that most resonated with them. An early part of the conversation picked up on what is naturally a more theory-based quality to case studies compared with suggestions for practical activities, and how the book navigates the pros and cons of this. What Genevieve had identified as the ‘dip-in-and-outable’ approach of the activities in Section 1 is clearly an advantage here too.

Showing 'My Lonely Tree', a photograph featured in one of the ecoart case studies ('Sick-amour').
‘My Lonely Tree’, featured in the Ecoart in Action case study ‘Sick-amour’. Photograph: Joel Tauber © 2006

Claire: “What I like about it is that it goes into a lot more detail and you’ve got some of the theory and some of the pedagogy behind it, in terms of why they’d done what they’ve done. And I liked the more academic approach [but] I wouldn’t read through all the case studies from the start, because they are long and weighty.”

Genevieve: “I was really glad that, like the first section, it wants you to read on; it’s been designed to be really accessible. It’s littered with these diagrams and graphics. For me, that kept my attention because big blocks of text, I just find that too much. I really value that there’s the same approach as with the participatory, ‘how to’, part — the same style of presenting it is in this more theoretical side. It feels more digestible to me.”

Nicky: “Some of them are quite text heavy but they are broken up very clearly… Being the ‘action’ person, sometimes I went straight to the outcome section and looked at that and thought ‘That looks interesting’ and went back and read it. And sometimes it was useful to read it in that order so I knew what they were getting at.”

Beckie: “I think I’m slightly torn between how theoretical they were, that theory side — and feel that reading all the case studies together would get very repetitive in a way, whereas dipping into one or two was really nice — but also, as case studies of things that happened with people in them, I didn’t quite feel like I got enough of the people and their stories and how they found it. Which maybe is coming from a different angle.”

That last point was important to Claire too, who as a community artist feels that knowing what the people involved got from the project would help her decide what and how to take from the case study: “At the end of the day, the reason that I do what I do is for the people that I’m doing it for.” And Genevieve took this further, reflecting on how some of the themes in the case studies address climate justice or violence in different contexts, which can be “a really personal, direct experience, and something more of that could have been amplified. That ‘humanness’ of it.”

As you will see in the video extract from their free-ranging conversation, as well as taking ideas from several of the book’s case studies and their personal impact, our four reviewers took these and the book itself as opportunities to touch on important questions: what is included in ‘ecoart’ and who decides, what remains accessible and for how long after a project has ended, what is the legacy, and how might this field of practice become more visible with funding for cross-disciplinary work? In some ways, this book is an embodiment of the value of these questions and current responses to them.

Showing a group reflection in a pond, Lancashire, 2016 - featured in the 'Faculty of Social Arts Practice': one of the ecoart case studies.
Kerry Morrison and Chrissie Tiller, Reflection in Pond: FoSAP Cohort Launching their Paper Boats, First Residential, Coldwell Activity Centre, Lancashire, 2016. As featured in the ‘Faculty of Social Arts Practice’ case study. Photo: William Titley.

Ecoart case studies: creative activism

Each reviewer also offered a short text to say more about the case studies they picked out.

Nicky

As I seemed to be drawn to case studies that focus either on broad community-wide projects or single engaging actions, I decided to choose one of each to comment on here.

Sick-Amour is the name given to Joel Tauber’s case study on a tree in a “sea of asphalt” in front of the Rose Bowl Stadium in Pasadena, California. Over a period of time, Joel lobbied on behalf of this tree’s health, drawing attention to its beauty and the possibility that it could be propagated. Using film, community participative sculpture, and a local programme to take care of over two hundred of its “babies”. There is a reality and poignancy to this case study, as the original tree was chopped down some time later — a sad and shocking end to such a compassionate and inclusive piece of work. But the babies survive to make new trees for other places in the future.

Artist Residencies for Environmental Change is at the other end of the spectrum — a series of activities by a variety of artists along the thirteen kilometres of Plum Tree Creek in Taiwan, polluted by rapid industrialisation, high-density population and intensive agriculture. Together they engaged over 80,000 people over more than a decade. Five different local artist teams used participatory programmes to create a huge range of activities together with educational institutions, NGOs, professionals and local residents. The main idea was to re-engage people in this fairly new town with their environment through this single river, which had been artificially straightened and was struggling ecologically. Partnerships with international artists brought different perspectives and activities, ranging from puppetry to walking maps, story-led conversations to local business engagement.

These two examples — and there are many more in the book — give a flavour of the range and scale of the work described. Whatever your own practice and working environment, there is something here you might replicate or gain inspiration from.

Beckie

The range of case studies in EcoArt in Action is exciting — there is such a variety of projects. For the purposes of this exercise, I have focussed on one (but it was very hard to choose). I was drawn to Kerry Morrison and Chrissie Tiller’s The Faculty of Social Arts Practice. This case study draws important links between socially engaged arts practice and Ecoart practice, looking at how both are collaborative and interdisciplinary. This is a boundary that my arts practice regularly walks and I found nuggets of gold in the suggested activities as an artist, and in their pedagogical approach as a teacher, particularly around the exploration of individual and collective identity and embodiment.

The case studies are short and I would have loved to see more depth — either from an artistic or pedagogical viewpoint (or both) — and heard more on the contents of the activities and experiences of participants. I can see beautiful ideas emerging about trust and risk, vulnerability and not knowing.

After reading this case study I am left wondering how I can find ways to let go of control in my practice — how can I collaborate more? Can I collaborate beyond the boundaries of species and discipline?

Genevieve

When we moved on to exploring the Case Studies section of the EcoArt in Action book, there was one image that stopped me in my tracks whilst flicking through the pages. Basia Irland’s Ice Receding/Books Reseeding is a fascinating case study of climate art. The image of a young child sitting on the bank of a river, ‘reading’ a book that — in the place where the words and images might be — sprouts lines of living seeds. The child sits with their legs crossed on the floor and their hands open, as if the stories of the living plants might be absorbed into their body from their still presence. I loved this example of climate art, which deftly balances expressing the melting and rising of sea levels with the quenching and reseeding of land.

Showing Basia Irland's 'Cleo Reading TOME II by the Banks of the Río Grande, New Mexico' (2007), one of the ecoart case studies featured in 'Ecoart in Action'.
Basia Irland’s ‘Cleo Reading TOME II by the Banks of the Río Grande, New Mexico’. Photograph: Claire Cote © 2007

This book carved from ice has, as Irland describes, been recreated around the world. In the way of water, my own imagination swells from the idea that each book melts and another book freezes from the same matter, flowing through the world’s water courses. For me, this case study is a beautiful example of an environmentally ‘light touch’ creative project, which is ephemeral in nature, whilst connecting with people and seamlessly communicating its rich complex message — I’m inspired!

It’s not enough to simply make art about the environment; as this book demonstrates, when you consider the lifespan and impact of the work beyond its installation or engagement, that’s ecoart in action.

Claire

I was drawn to Mo Dawley’s Wondering the Artist Book (an ecoinspiracy), as I am currently designing and producing a professional development and wellness support programme for Freelance Artists and this caught my attention. As it states in the overview, “the artist book [is] a consciousness-raising art form that conspires to question weary paradigms by inspiring wonder through multisensory connectivity”.

I was most interested in the different examples that are quoted throughout the case study and enjoyed looking up all the examples (although it must be noted that not all the links were active, which led to an interesting discussion about digital legacies and what happens when websites are no longer active or you leave a place of work and are removed from the website).

I totally resonate with Mo Dawley’s comment “At its essence, the artist book experience helps us to discover that our willingness to be open and engaged is ‘activism'” and I look forward to using the concept of Artist Books within my programme and await, excitedly, the outcome.

 


Find out more

Ecoart in Action: Activities, Case Studies, and Provocations for Classrooms and Communities, edited by Amara Geffen, Ann Rosenthal, Chris Fremantle, and Aviva Rahmani (2022) is published by New Village Press (outside the USA, published here). It is compiled from 67 members of the Ecoart Network, a group of more than 200 internationally established practitioners. The book is also available as an ebook, which may be an easier format to navigate between the various themes for some users. The Ecoart website includes discussion on the book and its ideas, with recordings from various events with various contributors and other Ecoart members.

This has been a review of the book’s second section, which offers 26 different ecoart case studies. For their discussion on Section 1 — with 25 activities for artists to experiment with — see Ecoart Activities – Working With Place & People.

In Ecoart in Action – Provocations to Creative Engagement they share their responses to Section 3, which offers 11 provocations.

Following up on the mentions of the Artist’s Book case studies, you can find interesting examples in an online collection from the National Museum of Women in the Arts in Washington, DC.

In their final post for this collaborative review, Beckie, Claire, Genevieve and Nicky will share their responses to Section 3, which offers 11 ecoart provocations.

Claire Atherton

Claire Atherton

An artist inspired by nature and using paint, clay, fabric and natural materials to explore how we intuitively respond to nature and the environment around us.
Read More

Beckie Leach

Beckie Leach

An artist, teacher and storyteller creating experiences for participation with the natural environment, and training as a facilitator in deep listening and the work that reconnects.
Read More

Genevieve Rudd

Genevieve Rudd

An artist exploring time and seasons using Cyanotype and Anthotype photographic techniques and leading heritage and environmental community arts projects through drawing, textiles and found materials
Read More

Nicky Saunter

Nicky Saunter

An entrepreneurial thinker, practical activist and campaigner, and creative artist who is driven by what we can do rather than what we cannot change.
Read More

Ecoart Activities – Working With Place & People

Artists Claire Atherton, Beckie Leach, Genevieve Rudd and Nicky Saunter have joined up to review Ecoart in Action: Activities, Case Studies and Provocations for Classrooms and Communities. This first of three collaborative posts samples the guide’s ecoart activities.


2,900 words: estimated reading time = 11 minutes + optional: up to 26 mins video clips


ClimateCultures editor Mark Goldthorpe describes the context for this innovative review:

In Autumn 2021, researcher and producer Chris Fremantle and I discussed a review of Ecoart in Action. Chris had co-authored this practical volume with other members of the Ecoart Network to showcase a wide range of ecoart activities, case studies and provocations to use with classrooms and communities. My discussions with interested members suggested a ‘multi-voiced’ approach: a collaborative process, generating dialogue from different practitioners’ insights. This review approach is well suited to the nature of the book — and ClimateCultures is all about stimulating creative conversations. 

Our four artist-reviewers — participatory arts practitioner Claire Atherton; teacher and storyteller Beckie Leach; environmental community arts projects leader Genevieve Rudd; entrepreneurial thinker and practical activist Nicky Saunter — work in different contexts and practices around the UK, based variously in South East London, Wiltshire and Norfolk. They held an ‘orientation’ Zoom call to introduce themselves and discuss possible approaches, before coalescing around the idea of together taking the book’s three parts, producing a blog post for each section.

Ecoart in Action. Cover design: Kevin Stone

A collaborative review – orientation

Their initial conversation brought out the book’s value as an inspiration, a resource with stories of contributors’ different approaches to ecoart, and a rich reference book of examples, artists and theories; there are clearly many ways to approach it.

Claire: “It’s a book you can use to get inspiration from in terms of your own ecoart practice, but also to look at different people’s approaches. To me, it’s a reference book, one you would go to and say ‘I’ve got this project, I want to work with this group of people, what could I do?’”

Nicky: “I found it interesting with some of the theory. I tend to duck away from the theory, and sometimes it can be useful. It was interesting to see where some of those practices came from, even if you don’t really need that in order to ‘do it’. So it being a reference book is useful: there’s intellectual learning, and practical learning and experiential learning that could come out, and I liked that: you don’t have to take all of it but there’s quite a lot there to take.”

Genevieve: “One of things I liked is there’s the practical examples and the process, that’s really important to me: it’s not just an activity that’s plucked out of nowhere, it’s grounded in something, and as you go through there’s the sense of people’s biographies, people’s stories — that it’s rooted. As a resource, it’s ‘dip-in-and-out-able’, because it’s not linear. You can flick it open and find something. And it’s introducing me to practices and artists I wasn’t aware of. For me there was a real sense of discovery, and now there’s so many wormholes to go down and people and projects to look up.”

Beckie: “I think there’s something important about how intangible ecoart is, and it’s not something usually you can go and see in a gallery or there’s not big shows of it because it’s not something that you can show in that way. And that makes it very hard to be aware of what’s going on and to experience it. So there’s something really valuable in seeing all the international practices and how it might be interpreted differently in different cultures.”

Settling on the post-per-section approach, the four decided they’d each scan the different entries in each section, share which ones grabbed them most to work with and then come together for a Zoom to compare experiences and reflect on the book. They’d then send in texts and images, with my role being to bring these together with clips from the Zoom recordings for added depth.

Discussing what use ecoart is in the world, they homed in on the Venn diagram from the book’s introduction, and how — as Claire observed — “It gave it a space in which it exists.”

Ecoart activities: showing a Venn diagram with Ecaort as the intersection of Art, Science and Community. From the book, 'Ecoart in Action'.
Three interconnecting fields of Ecoart practice. Image developed by the editors of Ecoart in Action © 2018

Claire: “It’s difficult when you’re moving away from traditional art practice; where do I sit, who am I? Am I a scientist, am I community worker, am I an artist? Well actually I’m all three of those things, to a certain degree. So that’s how I’ve looked at this book — it can help me to explore those three different facets within myself and bring those together in terms of my practice. … Arguing for its (ecoart’s) value, this book can really help in positioning that.”

Nicky: “We have a system that so clearly splits people between being scientists and being artists. Most people tend one way or another but use both, and can be very strong in both areas, and other areas as well. So I liked that, and it feels inclusive and therefore very positive. Sometimes even the word ‘art’ can feel quite exclusive in itself, to people who feel it’s not their space.”

Our reviewer-artists came at Section 1 with different needs, reflecting some of the diverse uses the book is likely to be engaged in. While Beckie wanted activities to try with her own toddler as an example of a non-formal teaching environment, and Nicky selected ideas to use spontaneously with a couple of young people in her own garden, Genevieve was looking for something to use with a set group of people in a session she already had planned, and Claire wanted the book’s help in creating a workshop she’d been commissioned to deliver in the New Year.

The immersion in Section 1, on ecoart activities, came just before Christmas. As it happened, Beckie couldn’t join in just yet because of family circumstances, so the first of the Zoom sessions went ahead with just Claire, Genevieve and Nicky, with Beckie then able to send in her reflections for this first post.

Planning ecoart activities

Genevieve

I purchased the book when it launched in 2022 and I was excited to have lots of inspiring ecoart ideas to draw from. As a community artist, I work with groups in an iterative way – the previous activity informs the next through reflective practice – so it has been refreshing to have external input to spark ideas. I was invited by a local arts university to run a talk with a workshop element to students, as part of an annual week-long programme encouraging students to try something new, explore different creative practices, and experience new ways of thinking and doing. This was the ideal chance to draw upon this book’s wisdom!

When I was flicking through the book, I found it really useful to have a ‘key’ to each activity in Section 1. For example, I knew I was looking at something suitable for undergraduate or graduate students, for a two-hour session and with an estimated group size of 10. The Perceiving Embeddedness through Collage activity by Cameron Davis stood out for me, as it fitted this context. Whilst the activity began with a walk as a core element for inspiring the activity that followed (which would be my own ‘usual’ format in my participatory arts practice), this wasn’t possible in the format I was delivering. The brief was for a talk with a workshop element, so I instead brought along a range of objects that had been collected in journeys from participants at previous projects and through my own arts practice.

Nicky

I started reading the book with an open mind, wondering which of my various groups might be up for participating in an activity. In the back of my mind, my criteria were: less than a day in timescale; something I could do in my local neighbourhood; low cost as I would not be using it in paid work.

Part 1 of the book is easy to read, with the consistency of layout meaning it is easy to find what each activity entails, how long it might take and what sort of audience it is suitable for. I quickly picked out a few activities that appealed to me and suited the criteria:

      • Award Ribbons for Places: making and giving awards to favourite places in a particular outside area, and sharing your reasons for your award. (This is the one I chose.)
      • Story Circles: people in a group each telling a story on a theme, adding to the overall richness and different points of view. (A bit too verbal and performative for my participants.)
      • Rethinking Fashion: exploring the footprint of fashion and making sustainable alternatives. (Too much time for my participants, but I would love to do this with our local XR group perhaps.)
      • Botanical Art Banners: studying local plants and painting findings onto banners for display. (I love this and think it’s a great way to appeal to different groups who might be interested in detail and science too.)
      • Lines of the Hand: using the lines on the palms of our hands as a starting point for patterns in the wider natural world. (This looks great.)

Claire

After initially being drawn to the activities Awards Ribbons for Places and Perceiving Embeddedness Through Collage, time commitments meant I wasn’t able to deliver either activity before our scheduled chat, so I used the book as a reference tool to provide inspiration for a forthcoming workshop I have been commissioned to deliver in January. Looking through the list of activities was simple and straightforward and I have chosen Story Circles as I feel this has the most relevance to my audience. I will report back on the delivery of this activity in future blog posts.

Showing 'Lines of the Hand', one of the ecoart activities in Ecoart in Action. Photograph by Claire Atherton
An example of ‘Lines of the Hand’, one of ecoart activities in the book that Nicky had considered using and both Genevieve and Claire had previous experience with: using the lines on the palms of our hands as a starting point for patterns in the wider natural world. Photograph: Claire Atherton, from a workshop led by Genevieve Rudd.

I spent a lot of time looking through all the activities to see the audiences, number of participants, duration etc in order to find one that fit the parameters of my commission. It would be helpful to have a grid at the beginning of the book that gives an easy way to drill down, based on audience type, ability (able-bodied / sitting activities), duration etc so that you can see instantly the activities, case studies and provocations that are relevant to your specific brief.

Beckie

I found this section of the book quite intimidating – it is dense and packed full of interesting ideas, but lacking pictures. Actually the premise of a lot of the activities was quite simple and accessible once I got into the text. I was drawn to Creating Rituals, Aborescence: a Score, and Cultivating an Ecocreative Mindset. I wonder if there is a way to format the activities so they are a little easier to read through quickly and adapt for different audiences?

It was challenging to adapt the activities to a non-formal teaching environment — but I think my particular context was also challenging as I wanted to find things I could do with my toddler and all of the activities in the book were designed for older participants and many required a much longer time frame. 

Working with ecoart activities on the ground

Genevieve

To find flow with my adaptation to the Perceiving Embeddedness through Collage activity plan, I framed the exercise around stories: how we’re each guided by different stories, values and experiences, and how this feeds into community arts practice. In my introductory talk, I shared examples of the elements that inform my work (I talked about these as my ‘deep roots’), and shared a couple of case studies of community arts projects that have evolved from these ideas (these are the ‘emerging shoots’). I was inspired by Davis’s ideas in the activity introduction on “embeddedness within this dynamic living whole we call life”, and reinterpreted this with my own drawing and thought process about these relationships.

Showing ecoart activities in context and metaphorically as deep roots and emerging shoots. Image by Genevieve Rudd.
Deep roots & Emerging shoots. Image: Genevieve Rudd © 2022
Ecoart activities: showing a drawing created during the workshop, inspired by the objects used. Image: Genevieve Rudd © 2022
A drawing created during the workshop, inspired by the objects used. Image: Genevieve Rudd © 2022

What I found particularly interesting about working from Davis’s idea was voicing someone else’s ideas and considering my own connection with them. It was useful for me to experience, as a facilitator. The provocations that particularly stood out to me were: “do you feel, in any way, that your object chose you?” and “entertain the notion that your object has presence”.

The group were really responsive to the activity and, whilst collage materials were made available to the group, they all chose to work in drawing throughout. To warm-up, I also added in some extra short exercises, some simple drawing methods that celebrated the qualities of the objects. The group generated some really thoughtful and evocative ideas in response to the objects they chose, including childhood memories, noticing the details and enjoying the texture, and reflecting on how their ideas could find a place in the world. I will certainly be using this activity as a starting point in different contexts, and can also see how it could be adapted for different ages and settings.

Nicky

Within our given timeframe, I happened to have two teenagers staying with me who did not know each other, one of whom is very shy and not strong at communication. I wanted something with a very low entry point, involving minimal art skills and some physical outside activity. The length of time was given as one day, which gives time to delve into the historical and social background of a place, but I found the activity could easily be shortened if focused on a more basic “what do you love here” question. We took about two hours and used my garden, which is large and has wild and woody areas as well as more open traditional lawn spaces, many trees, bushes and sheds. I hoped there would be enough interest for them.

After explaining to the two girls what we would be doing, we walked around the garden, looking for places we particularly liked, making a few comments, touching trees and plants, getting a feel for the place. Having each chosen two places we particularly liked, we went inside to create our own ‘awards’. I also participated, so I wouldn’t be hovering over them too much. I had some basic card, ribbons and string for hanging and paints/pens for decoration or writing that would all be biodegradable and so could be left outside to disappear naturally. I made a sample label-type award to help and one girl copied this, while the other made her own shapes and hangers. They seemed to crack on immediately with an easy understanding of what they were doing, despite one of the girls often finding art activities very difficult as she is unable to think of what to do. The prescriptive nature of this was helpful here.

We then went back outside, circling round to each of our own chosen favourite places, gave our awards and said a few words about why we had chosen this place. It was interesting to see we had all chosen different places and that we all chose trees and shrubs of some kind rather than the built environment. There was an instant connection to nature and an appreciation of its beauty not noticed before.

The girls seemed to find it fun and participated in taking photos and I found it quite moving to see their direct connection with other living organisms.

Using Awards Ribbons for Places in a wooded place. Photographs: Nicky Saunter © 2022 [click on images for full size]

I only touched on the possibilities of this activity, which could include so much more about a place and would work with bigger groups and over longer periods of time. Its flexibility is impressive.

Beckie

In the end we spent some time doing the Creating Rituals activity – making snow rock trolls and feeding the birds and squirrels. This was really fun and feeding the birds and squirrels together has continued as a regular activity – and I am thinking a lot about everyday rituals. 

Ecoart activities: Showing a photo of 'snow rock trolls' by Beckie Leach
Snow rock trolls. Photograph: Beckie Leach © 2022

In the following clips from their Zoom chat, Claire, Genevieve and Nicky share additional insights into how they worked with the ecoart activities in the book:

Clip 1 (6 minutes): Example activity – Awards Ribbons for Places.

Clip 2 (9.5 minutes): Example activity – Lines of the Hand; the book’s value as something you can come at as a starting point, a detailed, theory-led instruction, or a source of interesting thinking to spark your own ideas for activities.

Clip 3 (6.5 minutes): Example activity – Perceiving Embeddedness through Collage; the book as a rich source of references you can follow up.

Clip 4 (4.5 minutes): Using the book as inspiration for planning your work; issues navigating the book for different contexts; example activity – Story Circles.


Find out more

Ecoart in Action: Activities, Case Studies, and Provocations for Classrooms and Communities, edited by Amara Geffen, Ann Rosenthal, Chris Fremantle, and Aviva Rahmani (2022) is published by New Village Press (outside the USA, published here). It is compiled from 67 members of the Ecoart Network, a group of more than 200 internationally established practitioners. The book is also available as an ebook, which may be an easier format to navigate between the various themes for some users. The Ecoart website includes discussion on the book and its ideas, with recordings from various events with various contributors and other Ecoart members.

This has been a review of the book’s first section, which offers 25 different ecoart activities.

In Ecoart Case Studies – Theory into Practice, Beckie, Claire, Genevieve and Nicky share their responses to Section 2, which offers 26 ecoart case studies.

In Ecoart in Action – Provocations to Creative Engagement they share their responses to Section 3, which offers 11 provocations.

Assembling the Raven’s Nest is Chris Fremantle‘s review of fellow member Sarah Thomas‘s ecological memoir.

Claire Atherton

Claire Atherton

An artist inspired by nature and using paint, clay, fabric and natural materials to explore how we intuitively respond to nature and the environment around us.
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Beckie Leach

Beckie Leach

An artist, teacher and storyteller creating experiences for participation with the natural environment, and training as a facilitator in deep listening and the work that reconnects.
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Genevieve Rudd

Genevieve Rudd

An artist exploring time and seasons using Cyanotype and Anthotype photographic techniques and leading heritage and environmental community arts projects through drawing, textiles and found materials
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Nicky Saunter

Nicky Saunter

An entrepreneurial thinker, practical activist and campaigner, and creative artist who is driven by what we can do rather than what we cannot change.
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Grasping the Intangible — Our Climate Change Predicament

ClimateCultures editor Mark Goldthorpe reviews Climate Change, Mike Hulme’s book exploring how the idea of climate change is shaped and used in different ways and how its meanings help us navigate climate change as predicament rather than problem.


2,900 words: estimated reading time = 11.5 minutes


“Climate change is an idea of such size, scope, and imaginative power that it escapes the capacity of any one person to grasp and for political institutions to resolve.”

The very first words in Mike Hulme’s climate book are “Not another climate book!” We’ve all read (or read about) so many different works, from the IPCC’s periodic reviews of the state of our scientific knowledge through to the polemical treatises for one solution or another. Contextualising his own book alongside some of these — the popular guides “developed for specific audiences —  ‘dummies’, children, planners, or environmental lawyers — and innumerable ‘short introductions’,” Hulme doesn’t neglect the work of creative writers, mentioning both the increasing volume of literary and genre fiction and its academic coverage. So-called Cli-Fi has rapidly become so well established that by 2018 it already needed a volume called Cli-Fi: A Companion.

So Hulme rightly asks “What more possibly is there to add?”, and his response convincingly adds up to: ‘quite a lot’. Or, maybe, ‘everything’, because we’ll never run out of things to say about the subject. “Climate change is not ‘over’,” he reminds us: neither in the science that underpins our knowledge, nor in coming to terms with what it means for us and our current cohabitants on the planet and its future travellers; and not in the sense of being encompassed or contained within any one field of knowledge. “There is a ‘further beyond’,” he tells us: “Plus Ultra, the epigraph engraved by Spanish grandees on the Pillars of Hercules at the Straits of Gibraltar at the turn of the sixteenth century.” By analogy, collectively we’re all in the straits now, at the beginning of a new age of human experiences of what the world is becoming and what it means to be human within it. And so there will always be a need for new guides and their challenges to the multiple ways we have of grasping, and failing to grasp, these questions.

Climate change is best regarded not as a problem needing a solution but as a predicament. In contrast to problems, predicaments “can neither be solved through engineering nor resolved through politics. A predicament just won’t go away. What predicaments need,” Hulme suggests, “are stories. Interpretive stories — what some may call guiding myths — through which to understand the predicament and to come to terms with it.” Which doesn’t mean just accepting it, standing still. The stories we tell about our predicaments are ways to find our way through a shifting landscape, in ways that seek, sustain and generate hope. “To live with it — but also to move on.” 

“It is possible to use the idea of climate change creatively to bring about desirable change in the world without remaining hostage to the impossible dream of subjecting the condition of global climate to human will.”

Exploring the idea of climate change: showing the cover of Mike Hulme's book, Climate Change (2022)
‘Climate Change’ by Mike Hulme – exploring an idea.
Cover image: Dehlia Hannah © 2022

Geography — Mike Hulme’s own field of knowledge — is a useful discipline from which to start out, taking in its own traditions of both physical and human sciences and offering space to incorporate and adapt insights from many other disciplines. Both in the main text and in many informative and illustrative vignettes throughout, this book draws on what science historians, social anthropologists, environmental economists, political ecologists, indigenous activists, geohumanities and literary scholars, sociologists, and a range of sub-disciplinary and interdisciplinary geographers have to say about climate change. At the same time, Hulme admits this is a very different book to any that researchers from any of those disciplines might offer, or even other geographers from other cultures. It’s the partial and provisional nature of our knowledge that he emphasises. Knowledge, made through scientific or other practices, occurs in particular settings, from where “it moves between people and travels between places.”

“Climate change has today become a synecdoche – it ‘stands in’ – for the status and prospects of people’s changing material, social, and cultural worlds. And these worlds are always in the making … the meaning of climate change is never fixed, nor can it ever be exhausted.”

This book has as its focus our ideas of climate change, and how those ideas have been expressed in different times and cultures, shifting and mutating as they move between them, never settling forever. Climate change “becomes an idea used to different ends.”

The earlier sections provide historical-geographical perspectives through lenses of culture and science — especially cultures of science practised by empires, superpowers and global institutions that have constructed, expanded but also contained our understanding — to become a focus of public concern, debate and mobilisation. The relationships between public and expert understandings are critical to how debates, media coverage and shaping of policy all play out and affect each other. In the middle sections, Hulme sets out different positions within two broad camps, ‘science-based’ approaches on the one hand and ‘more-than-science’ ones on the other. A crude distinction, but “a helpful device for exposing how the idea of climate change becomes imbued with multiple meanings across diverse social formations”. Finally, he discusses the future: the ways it’s being imagined now and how different understandings of climate change are trying to direct our attention to making the ‘right’ future happen. We all have positions to take and world views at stake as we try to steer the planet into one future and away from others. What ideas of climate change will come to dominate?

Between facts and meanings

What does climate change mean? Hulme suggests that broadly ‘science-based’ meanings are espoused in ‘reformed modernism’, ‘sceptical contrarianism’ and ‘transformative radicalism’. Respectively, these seek to assimilate climate change into projects of progressive technological and political development; to contest the nature or significance of climate change as a ‘thing’; or to mobilise it as a vehicle for profound social change. And in the equally expansive territories of ‘more-than-science’ positions are ‘subaltern voices’, ‘artistic creativities’ and ‘religious engagements’. These seek to supplant or speak back to the dominant scientised narrative, to reimagine it, or transcend it. One of many ‘subaltern voices’ he references is the ‘trickster’ figure — for example, represented in North Pacific cultures in Raven — that “acts as a mirror for humanity by reflecting people’s relations with the environment. Raven challenges the illusion of control that is promised by scientific knowledge and geoengineering technologies.”

Whether “getting the science right’ is the fundamental prerequisite to policy, as each of the first three otherwise differing positions assert, or we hold that science alone cannot define our knowledge and we can foreground other forms of lived or derived environmental knowledge, the meanings these six positions enact are continually constructed, sustained and deployed in our various discourses. As Hulme points out, “actions are not determined by the facts in themselves”; our choices are guided by interpretations of facts. This is why understanding the different meanings we and others attribute to our changing climate is an important early step, although not an easy one.

“How do people make sense of something that on the one hand is both physically and discursively unavoidable in the contemporary world, but that – at the same time – exceeds human ease and the imagination? Earth system scientists and literary critics alike grasp at the intangibility of climate change.”

They grasp in different ways, and each is important. Exploring creative approaches and listening to marginalised voices can offer ways to make the abstract particular where scientific knowledge-making, of necessity, strives to derive global, abstract truths from the overabundance of specifics that the natural world presents us with. Perhaps unsurprisingly for a project like ClimateCultures, the second half of Hulme’s book resonates most strongly, for all the value of the earlier, clear accounts of dominant (although fiercely competing) ‘science-based’ positions on climate change. We need to go ‘further beyond’, while maintaining a commitment to data building, knowledge construction and world modelling, if we are to grasp the many meanings of climate change and the responses we can best enact. At the very least, we need to see that scientific knowledge itself travels and translates as it moves among different places, people and processes of making sense of change.

Subaltern voices and the idea of climate change: showing The Raven, a trickster figure.
Subaltern voice – Raven as Trickster, challenging the illusion of control. Image used in Mike Hulme’s ‘Climate Change’.
Artist: © Glen Rabena https://www.glenrabena.com/

“What climate change means locally is not simply the result of downscaling global kinds of knowledge” for, as global climate science rubs up against local subjectivities, the multiple resists becoming singular. The three broad approaches Hulme outlines as ‘more-than-science’ have much to offer as we come to terms with, celebrate and harness the “mobility and the mutability of the idea of climate change.” And these multiple voices and ways of knowing merit being listened to on their own terms, rather than merely as an attempt to ‘improve’ data and modelling.

“If science is de-centred from accounts of climate change … then different possibilities open up for identifying the underlying causes, challenges, responses, and solutions to climate change. Resisting the assumption, instinctively made by scientists, that climate change is all about molecules of carbon dioxide, global carbon budgets, modelled predictions of future climate impacts, or even about local weather extremes, makes it possible to supplant the idea of climate change using very different assumptions.”

Governing the idea of climate change

As we move into the latest global negotiations at COP27 and reflect back on the milestones (or fractions of miles) of the previous COPs, it’s worth reflecting on the concluding section of Hulme’s book, Climate change to come. The first chapter here addresses the thorny question of governing the climate and the proliferation of actors involved. For 1988’s UN General Assembly resolution, which led the way for the Framework Convention at the 1992 Earth Summit, and thus the 2007 Kyoto Protocol and 2015’s Paris Agreement, climate change was “to be regarded as a pathological condition of modernity that threatened ‘the heritage of mankind’.”

As the global regime has developed, so too the regional, national and sectoral interests that translate, advocate for and supervise what and how policies are implemented. The “agents of climate governance” now reach well beyond formal, global institutions, taking in “building inspectors, venture capitalists, media producers, trades unionists, monks, aviation authorities, professional sports clubs, farming extension officers, public celebrities, and national energy regulators.” Every kind of human activity affects the climate, and is affected by ideas of climate change. And so the annual COP attracts more and more participants, observers and influencers.

It’s not the climate itself that’s being governed here, of course, but the regulation of human technologies, behaviours and mechanisms to mitigate the causes of climate change and adapt to its unavoidable impacts. Hulme investigates and summarises these approaches to governance, including state-centric and polycentric models: the use of standards and certification, carbon markets, citizens’ assemblies, judicial courts and ‘climate services’ such as the ‘Forecast in Context Map Room’ tool developed by the International Federation of Red Cross and Red Crescent Societies for decision-making in disasters.

“[G]lobal temperature is not an entity that is directly tractable to intentional human action. Governing temperature therefore requires governing the full range of human activities and technologies … and the imaginations that give rise to them… Governing global climate therefore becomes an exercise in governing the collective of human societies but where the power to do so exists in no central or identifiable location.”

A technosocial idea of climate change: showing a screen shot of the IRI-IFRC Forecast in Context Tool
Screenshot of the IRI-IFRC Forecast in Context Tool illustrating where exceptionally heavy rainfall is expected.
Source: ‘Climate services for society: origins, institutional arrangements, and design elements for an evaluation framework’, Catherine Vaughan & Suraje Dessai (May 2014)

Given climate governance’s “totalising reach”, as Hulme identifies it, paradoxically perhaps it’s a profound relief as well as an insurmountable obstacle that no human institutions can ever have the global power to understand, decide and dictate the scale and scope of response that’s needed. There is no governing ‘matrix’. As Hulme says, “far from … vision[s] of a coordinated and intelligent Earth System Governance framework, a more plausible metaphor for climate governance is that of a clumsy multilayered meshwork of overlapping and competing competences and interests.”

Climate imaginaries

Hulme finally moves to the realm of realist and speculative imaginaries of the climate to come and how “events that have not yet happened in reality, happen in the imagination.” As such, now as in history, “future climate imaginaries wield extraordinary power over the present.” He reminds us of the totalitarian party diktat in George Orwell’s Nineteen Eighty-four — “Who controls the past, controls the future: who controls the present, controls the past” — and suggests that with respect to climate change, Orwell’s aphorism might come full circle: “Who controls the future, controls the present”. In this light, the “hopeful imagery offered up in the Paris Agreement”, of a global future climate to be kept under 1.5o to 2.0oC above pre-industrial levels is an especially powerful future narrative attempting to motivate and constrain human behaviour to a global pathway. But as such it “does not necessarily trump all other climate imaginaries … [and]  prompts the obvious question: Whose imaginaries count most?”

Among the artistic responses to ideas of climate change Hulme references is The Weather Project. Olafur Eliasson’s 2003 installation in the Tate Modern’s cavernous Turbine Hall “reminded visitors that humans are unavoidably bound up in the making and experiencing of the weather.”

“Human activities are increasingly co-producing the vaster space of the atmosphere and the climates that it yields. Through his installation Eliasson was saying that there is no standpoint outside of the weather from which humans can stand and objectively observe, measure or manipulate the atmosphere … For humans to live culturally with climate is for climate to be inescapably altered.”

An artistic idea of climate change: showing Olafur Eliasson's 2003 installation in the Tate Modern, The Weather Project.
View of Olafur Eliasson’s The Weather Project in the Tate Modern Turbine Hall, 2003
Photograph: Mark Goldthorpe © 2003

The different practices of ‘futuring’ — drawing on science, fiction, metaphor, modelling, myth, scenario-making, visualisation or other techniques — need to recognise that our futures are not reducible to climate alone but are many-sided; are produced and conditioned on different scales, not just the abstract global scale; and have geographies and histories. Also,

“imaginaries are not merely imaginaries. They are not simply inert figments of a fertile imagination. Sociotechnical imaginaries operate across the boundaries of the perceptual and the material. They can bring real worlds into being, for example carbon capture technologies, driverless vehicles, intelligent robots, or space tourism.”

Although discussed as a separate way of futuring the climate, along with models and scenarios for example, metaphor is perhaps something so intrinsic to human imagination and our faculty for language that it underpins the others as much as it stands out for investigation in its own right. As Hulme says, “metaphors help us grasp something new or unfamiliar by associating it with something more familiar and everyday.” Think of the ‘greenhouse effect’ or ‘carbon budgets’. Not intended to be taken literally, metaphors “help explain an idea, enable a comparison, or provoke a line of thought.” And metaphors are perhaps especially helpful in thinking through non-linear aspects of the complex and unpredictable world around us. Think ‘tipping points’, ‘planetary boundaries’, ‘runaway climate change’ — metaphors that Hulme picks up as phrases emanating from Earth Systems scientists. Or think ‘global thermostat’, ‘sunscreen’, or ‘insurance policy’ — metaphors deployed in the world of geoengineering. ‘Geoengineering’ is itself a metaphor, of course, one that projects as a solid science the risky business of presuming to tinker with the planet at its own scale. As Hulme says “metaphors can be hard to spot and can act as political Trojan horses” (and there goes another one), so it’s worth being on the lookout for them. Metaphors can also point in different directions, as he suggests with ‘The Anthropocene’.

“Is the Anthropocene a way of drawing attention to the awesome – but unequal – powers and responsibilities people now have for shaping the climatic future? Does it provoke a questioning of the character and wisdom of the Anthropos – the human – who has given rise to this epoch and its unequal power relations? Or does the Anthropocene metaphor dissolve the old binaries of modernity that separate nature from culture and so recognises that climate is no longer natural and never again can be?”

The overall thrust of this book is how — given the diversity of human imagination and experience, and the ever-changing state of our knowledge of the world — there can be no single narrative of climate change. Certainly, no singular strategic narrative directing what ‘we’ must do or what ‘climate’ we must end up with. There are many present experiences and understandings of what a climate is and what climate change means; and therefore many futures at stake, and many practices for reaching out to them and making use of them today. But who, in the end, can resist a convincing and pithily stated narrative?

“An indefinite future of a physically changing climate, now brought about largely by human hands, has to be confronted. But also to be grasped is the fact that the idea of an unsettled climate is with us forever.”


Find out more

Climate Change by Mike Hulme (2022) is published by Routledge. You can read about Mike’s work and thinking on climate change over many years at his website.

Some of Mike Hulme’s ideas have helped shape previous ClimateCultures blog posts, including The Stories We Live By, where Mark discusses metaphor and other aspects of our discourses and narratives on our relationships with the rest of the natural world, as explored in a free online ecolinguistics course created by ClimateCultures member Professor Arran Stibbe and volunteers from the International Ecolinguistics Association.

Mark Goldthorpe
Mark Goldthorpe
An independent researcher, project and events manager, and writer on environmental and climate change issues - investigating, supporting and delivering cultural and creative responses.
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Assembling the Raven’s Nest

Researcher Chris Fremantle reviews The Raven’s Nest. This ecological memoir by Sarah Thomas addresses love and loss and coming to belong in the Westfjords peninsular of Iceland, evoking human and more-than-human relationships to draw out stories of interdependence.


1,860 words: estimated reading time = 7.5 minutes


In The Raven’s Nest Sarah Thomas tells us a story of falling in love, moving to another culture and learning its ways. Many things have agency in the book, including all sorts of other living things as well as landscapes and even buildings. Daylight too is an actor. Nested within the book is a photo essay, a visual journey parallel to and intersecting with the words.

Showing the cover of the book, 'The Raven's Nest' by Sarah Thomas
The Raven’s Nest. Cover art: Carmen R. Balit, based on a photograph by Sarah Thomas

The raven’s nest — an improvisation

The raven’s nest itself, which provides the title, is found in a first-floor natural history museum above shops in Bolungarvík, a fishing village on the Westfjords peninsula in the very west of Iceland: it is an icon for a process of assemblage.

A cluster of sticks in a cubic glass case catches my eye. It is both chaotic and coherent. I stroll over and look at it from above – a circular nest perhaps a metre in diameter. The perimeter, which makes up most of it, is a rough entanglement of twigs, driftwood, mussel shells, a strip of yellowing plastic container, a sheep’s shoulder blade, a wooden knife handle, a TV aerial, and the rusted head of a rake with four missing tines. It is perfect for its purpose – a hotchpotch of plant, human-made and animal detritus holding it together, weighing it down against the high winds. There are no big trees here for a large bird to nest in: the nest must be resilient alone on a cliff. Its centre is a small, intimate hemisphere – less than a third of the whole: a bed of intricately woven fine grasses and frayed blue plastic rope threads, lined with down. Inside this centre lie four small eggs, almost lost in the flotsam. The label reads: Raven’s Nest. The nest is ‘safe’ now, sealed in this moment against the high winds. It is safe, though these eggs will never hatch. How might it live again, contain life, out in the unknowable wilds of the future?

Showing a raven's nest in the natural history museum, Bolungarvík. Photograph by Sarah Thomas
Raven’s Nest, natural history museum, Bolungarvík. Photograph © Sarah Thomas

We know from the outset that a failing relationship is central, but we don’t know why. Much of the book is concerned with the process of becoming an inhabitant, someone who understands the habitat and is part of it. This process is episodic in life: understanding comes in moments and in our reflections on moments. This opens up the meaning of improvisation — making do with the materials at hand — both literally and as a practice.

This is beautifully captured in an exchange between the author and her partner:

In the distance, Hekla stands crisp and clear as a cardboard cut-out, the colour of a bruise. She is majestic.

‘So, we’ll be living beneath a volcano that is overdue to erupt?’

‘We can make sure the van’s always got enough petrol for an escape.’

Problem. Solution. Why is life in England so complicated? So full of prohibitions and protocols which do not allow for the cultivation of sense…

That the relationship between freedom and constraint is fundamental to improvisation is beautifully articulated, though the lurking challenge of coping with this becomes clearer as the book goes on. Whilst the eruption of Eyjafjallajökull in 2010 does feature, it is everyday human and more-than-human ‘making do’ which is the central issue. Human improvisation is in the moment, but it can have longer-term ramifications.

'Raven valley', a photograph of Iceland by Sarah Thomas from her book The Raven's Nest.
‘Raven valley’. Photograph © Sarah Thomas

Dependence and interdependence

Behind this book is a PhD, another text, which discusses what it means to be writing in the Anthropocene and unpacks a critical literature on writing. In the PhD Sarah quotes Donna Haraway (who in turn is referencing Marilyn Strathern): “It matters what worlds world worlds. It matters what stories tell stories.”

Stories create worlds. Stories are nested in stories. Icelanders live in a story — by way of an aside to illuminate this, the artists Helen Mayer Harrison and Newton Harrison say, “Every place is the story of its own becoming.”

Sarah Thomas’ story of becoming Icelandic is a story within stories of places becoming. Many relationships between humans and other living things are evoked in The Raven’s Nest. The narrative focuses on and draws out dependencies. Some are the result of human carelessness in the past. Some are ongoing and continuous since humans settled on Iceland. The former is exemplified by the experience of providing a temporary fish shop on the edge of a lake for the short summer season. Humans introduced Arctic Char into the lakes. The people who facilitate Sarah getting enmeshed in Iceland run the temporary fish shop. Walkers on holiday gravitate to the fish shop for fresh Arctic Char. The abundance of the invasive species is mitigated by the human visitors enjoying eating freshly caught fish. A new set of dependencies is invented.

Another ongoing dependency relates to sheep. The family Sarah becomes part of farms sheep, amongst other things. The sense is they have ‘always’ farmed sheep. Another, long-term, dependency is articulated in the annual slaughter, hanging the carcasses, the smoking of meat, the long winters.

But even the position of Iceland on the planet makes for dependencies:

My experience of the light’s absence has been less intense, but more protracted, than the total darkness I anticipated. I wish I had it in me to keep a record of the times of sunrise and sunset; there is poetry in such accuracy. But this being my life, I feel it as a whole reality, not a set of data to be recorded and analysed.

Interdependence has become a focus of the environmental humanities, but it is also critical to understand dependence. Isabelle Stengers articulates the relationship between the two, saying in her essay for the Critical Zones exhibition catalogue: “Nor should the intertwining interdependencies be confused with a network of interlinking dependencies. It is easy to understand why, without water or light, a plant dies. This fits the definition of ‘dependence’. But interdependence implies a way of being sensitive that is a form of venture.”

The Raven’s Nest sensitises us to difference and the process of becoming, moving in and out of difference. Her attention to difference, her own patterns and expectations, and the patterns and assumptions characteristic of Iceland, generates new sensitivities.

Showing 'Cold blushing', a photograph of Iceland by Sarah Thomas in her book The Raven's Nest
‘Cold blushing’. Photograph © Sarah Thomas

The stories we need now

It is a book about love, loss and also mental health. The PhD dissertation is its twin. Being asked to review The Raven’s Nest and being a practice-led researcher led me inevitably to reading sections of Sarah’s practice-based PhD in Interdisciplinary Studies. The latter talks about the Anthropocene in ways that are a current riff in the environmental humanities. She cites Amitav Ghosh’s The Great Derangement because he asks the important question: do the arts need to question themselves in the extinction crisis? Yes, the arts are vital to the change of consciousness required, but the arts are part of the consciousness that produced the Anthropocene. Later she takes up Ursula Le Guin’s The Carrier Bag Theory of Fiction to deepen the point, questioning not only the form of the modern novel and its focus on everyday subjectivities, but to go further and question all stories with heroes. The question is, what might be the arts that we need now?

'Floating house', a photograph by G. Kristinsdóttir, in The Raven's Nest by Sarah Thomas
‘A Floating house’. Photograph © G. Kristinsdóttir

Reading her PhD enables me to understand the judgements she is making, the sensitivities she is alert to, in relation to the process of writing. It represents another layer of sensitizing. However, the PhD is not a substitute for The Raven’s Nest — reflections on the process of making stories is not a substitute for stories. The artwork is the artwork. The sensitivities and complexities evoked affect us. Early on Sarah talks about one of the key differences manifest in language:

I enjoy that these nouns I live alongside have a gender, even when Icelanders are speaking English. ‘It’ is easier to commodify, but ‘he’ and ‘she’ become beings I must acknowledge a relationship with.


Find out more

Chris Fremantle is a researcher and lecturer at Gray’s School of Art. He established ecoartscotland in 2010 as a platform for research and practice, a node in the network of ecoarts. He writes, mostly in collaboration: most recently, Ecoart in Action: Activities, Case Studies and Provocations for Classrooms and Communities (New Village Press, 2022).

Sarah Thomas is a writer and documentary maker with a background in anthropology. See more at her website. Here on ClimateCultures, you can read her post with fellow member Jon Randall, Óshlið: River Mouth \\ Slope — where they share a conversation about the ideas, stories and creative processes behind their film exploring an abandoned road in Iceland, accompanied by a slideshow of their images from this changing place.

The Raven’s Nest (2022) is published in hardback and ebook by Atlantic Books and is available as an audiobook from Audible. Robert Macfarlane has described it as “A deeply thoughtful, vivid, enquiring, genre-traversing book, closely attentive to the people and the landscapes with which it dwells. It asks hard questions – and offers no easy answers – about what it means to belong to a place, and to live well upon a part of the earth. Sarah’s writing – crisp in its details, patient in its rhythms – draws its readers northwards and inwards upon a fascinating journey.”

Sarah was interviewed for Iceland Monitor on the book’s publication, and the piece – Hnífsdalur made her an author – includes interesting insights into her approach to the book: “I was trained in making movies in the way that the filmmaker is invisible, like a fly on a wall. But when trying to convey the experience of being a foreigner trying to adjust to a different culture, it somehow doesn’t make sense to pretend to be invisible. … Writing the book was a new way to re-take the movie. When writing you can position the camera elsewhere, or go back in time and reminisce. So I feel like I have made a movie with words.”

Chris mentions Ursula Le Guin’s Carrier Bag Theory of Fiction — a work that features in other ClimateCultures posts, including Philip Webb Gregg‘s A Personal History of the Anthropocene – Three Objects #12, On a Writer’s Imaginarium by Sarah Hymas, and Disciplinary Agnosticism and Engaging with Ecologies of Place by Iain Biggs. Iain has also discussed Amitav Ghosh’s The Great Derangement in his post Five Notes on Thinking Through ‘Ensemble Practices’.

“It matters what worlds world worlds. It matters what stories tell stories,” is from Donna Haraway’s Staying with the trouble: making kin in the Chthulucene (Duke University Press, 2016).

Artists Helen Mayer Harrison and Newton Harrison’s suggestion that “Every place is the story of its own becoming” is a central metaphor in their ‘Future Gardens’ work, as explored in this Artist Statement

The quote from Isabelle Stengers on interdependencies comes from Critical Zones: the Science and Politics of Landing on Earth, edited by Bruno Latour and Peter Weibel (MIT University Press, 2020).

Chris Fremantle

Chris Fremantle

A researcher and producer working across health and environments / ecologies, and creator of ecoartscotland.
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