Literatura académica sobre el tema "Climate change imaginary"
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Artículos de revistas sobre el tema "Climate change imaginary"
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Luke, Timothy W. "The climate change imaginary". Current Sociology 63, n.º 2 (19 de diciembre de 2014): 280–96. http://dx.doi.org/10.1177/0011392114556593.
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Kelman, Ilan. "Imaginary Numbers of Climate Change Migrants?" Social Sciences 8, n.º 5 (27 de abril de 2019): 131. http://dx.doi.org/10.3390/socsci8050131.
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Within the extensive scientific and policy discussions about climate change migrants, detailed analyses continue to highlight the lack of evidence thus far for climate change directly causing migration. To understand better how climate change might or might not lead to migration, this paper explores possibilities for developing a robust, repeatable, and verifiable method to count or calculate the number of people migrating or not migrating due to climate change. The discussion starts by examining definitions of “climate change” and “migration”, then looking at how to determine numbers of climate change migrants based on those definitions. These points lead to descriptions of the subjectivity and arbitrariness of the decisions needed for counting or calculating climate change migrants and non-migrants. While the scientific study of working out numbers of climate change migrants and non-migrants is challenging and interesting, especially due to its complexity, changing baselines alongside legitimate concerns about necessary assumptions lead to questions regarding the usefulness of the calculations for policy and action. Ultimately, labelling, counting, and calculating climate change migrants and non-migrants depend on political choices, so any numbers reached might not be scientifically robust. Improved understanding of people’s motivations for migrating and not migrating under different circumstances, including under climate change and perceptions thereof, would be preferable to a starting point assuming that climate change inevitably causes migration.
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Neimanis, Astrida y Rachel Loewen Walker. "Weathering: Climate Change and the “Thick Time” of Transcorporeality". Hypatia 29, n.º 3 (2014): 558–75. http://dx.doi.org/10.1111/hypa.12064.
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In the dominant “climate change” imaginary, this phenomenon is distant and abstracted from our experiences of weather and the environment in the privileged West. Moreover, climate change discourse is saturated mostly in either neoliberal progress narratives of controlling the future or sustainability narratives of saving the past. Both largely obfuscate our implication therein. This paper proposes a different climate change imaginary. We draw on feminist new materialist theories—in particular those of Stacy Alaimo, Claire Colebrook, and Karen Barad—to describe our relationship to climate change as one of “weathering.” We propose the temporal frame of “thick time”—a transcorporeal stretching between present, future, and past—in order to reimagine our bodies as archives of climate and as making future climates possible. In doing so, we can rethink the temporal narratives of climate change discourse and develop a feminist ethos of responsivity toward climatic phenomena. This project reminds us that we are not masters of the climate, nor are we just spatially “in” it. As weather‐bodies, we are thick with climatic intra‐actions; we are makers of climate‐time. Together we are weathering the world.
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Shatz, M. M. y Yu B. Skachkov. "IMAGINARY AND REAL NATURAL PROBLEMS IN ADAPTATION TO CLIMATE CHANGE". Climate & Nature, n.º 1 (2021): 5–24. http://dx.doi.org/10.51618/2220-8259_2021_1_5.
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de Jong, Lotte, Gert Jan Veldwisch, Lieke Anna Melsen y Rutgerd Boelens. "Making Rivers, Producing Futures: The Rise of an Eco-Modern River Imaginary in Dutch Climate Change Adaptation". Water 16, n.º 4 (18 de febrero de 2024): 598. http://dx.doi.org/10.3390/w16040598.
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In the field of climate change adaptation, the future matters. River futures influence the way adaptation projects are implemented in rivers. In this paper, we challenge the ways in which dominant paradigms and expert claims monopolise the truth concerning policies and designs of river futures, thereby sidelining and delegitimising alternative river futures. So far, limited work has been performed on the power of river futures in the context of climate change adaptation. We conceptualised the power of river futures through river imaginaries, i.e., collectively performed and publicly envisioned reproductions of riverine socionatures mobilised through truth claims of social life and order. Using the Border Meuse project as a case study, a climate change adaptation project in a stretch of the river Meuse in the south of the Netherlands, and a proclaimed success story of climate adaptation in Dutch water management, we elucidated how three river imaginaries (a modern river imaginary, a market-driven imaginary, and an eco-centric river imaginary) merged into an eco-modern river imaginary. Importantly, not only did the river futures merge, but their aligned truth regimes also merged. Thus, we argue that George Orwell’s famous quote, “who controls the past, controls the future: who controls the present, controls the past” can be extended to “who controls the future, controls how we see and act in the present, and how we rediscover the past”.
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van der Beek, Suzanne y Hans-Georg Eilenberger. "Imagining Intergenerational Climate Justice: Critical Notes on Jan Terlouw’s Het hebzuchtgas". Jeunesse 16, n.º 2 (1 de diciembre de 2024): 217–36. https://doi.org/10.3138/jeunesse-2022-0041.
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Generational tensions are often invoked in discussions about climate change, framing the crisis as a failure of older generations to safeguard the future of younger and upcoming ones. While this rhetoric can mobilize youth, it risks overshadowing deeper structural inequalities—such as economic, racial, and geopolitical disparities—that shape both accountability for and vulnerability to climate change. An intergenerational climate imaginary, built on solidarity and intersectionality, offers a more unifying and effective framework for addressing the crisis and fostering collective action. This article explores the possibilities and limitations of such an imaginary by analyzing Jan Terlouw’s children’s book Het hebzuchtgas. The story presents a vision of intergenerational collaboration, where younger and older characters work together to confront environmental collapse, emphasizing the value of long-term thinking over short-term profit motives. However, the narrative also exhibits significant shortcomings, including problematic colonial and heteronormative tropes and an underdeveloped portrayal of youth emotions. We argue that a robust intergenerational climate imaginary must integrate insights from intersectionality, decoloniality, queer theory, and affect studies to produce more inclusive and transformative narratives. Through a critical reading of Het hebzuchtgas, this article offers pathways for reimagining intergenerational solidarity in climate activism.
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Lundberg, Anita. "Balinese dancer wearing a gas mask: climate change and the tropical imaginary". Scottish Geographical Journal 136, n.º 1-4 (2 de enero de 2020): 91–100. http://dx.doi.org/10.1080/14702541.2020.1858589.
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Boyden, Michael, Ali Basirat y Karl Berglund. "Digital Conceptual History and the Emergence of a Globalized Climate Imaginary". Contributions to the History of Concepts 17, n.º 2 (1 de diciembre de 2022): 95–122. http://dx.doi.org/10.3167/choc.2022.170205.
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This article offers an exploratory quantitative analysis of the conceptual career of climate in US English over the period 1800–2010. Our aim is to qualify two, closely related arguments circulating in Environmental Humanities scholarship regarding the concept’s history, namely that we only started to think of climate as a global entity aft er the introduction of general circulation models during the final quarter of the twentieth century, and, second, that climatic change only became an issue of environmental concern once scientists began to approach climate as a global model. While we do not dispute that the computer revolution resulted in a significantly new understanding of climate, our analysis points to a longer process of singularization and growing abstraction starting in the early nineteenth century that might help to nuance and deepen insights developed in environmental history.
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De Carli, Anelise, Marcelo Conter y Camila Proto. "Quando Gaia irrompe no congresso: enchentes no RS e narrativas do Antropoceno e apesar dele". Revista Mídia e Cotidiano 18, n.º 3 (26 de septiembre de 2024): 206. http://dx.doi.org/10.22409/rmc.v18i3.63417.
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The Anthropocene event erupts, causing a series of changes in the onto-epistemological categories from which our discussions about the nature of visual and sound images have hitherto been based. Herewe present the first steps of a collective research program on the narratives of/in the Anthropocene. Initially conceived as a written version of the work produced to be presented at aconference, this essayreportson Gaia's intrusion into that same presentation. At first, we investigate the audiovisual narrative about climate change, but the experience of the floods in Rio Grande do Sul in 2024 went beyond the practices of everyday academic life, damaging the intended production of meaning and bringing out aspects of the imaginary at play in climate change.
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Domingues, José Maurício. "The Political Dimension of Modernity and the Unsurpassable Exteriority of ‘Nature’". International Journal of Social Imaginaries 1, n.º 1 (16 de mayo de 2022): 17–41. http://dx.doi.org/10.1163/27727866-01010001.
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Abstract The environment and climate change have achieved global, imaginary and institutional, centrality. Yet, despite efforts by social movements and intellectuals to change the status of ‘nature’ in social life, its unsurpassable exteriority in relation to ‘society’ remains a defining feature of modernity. While the imaginary is to a large extent fluid, these are core elements that hardly change, and by the same token are hard to change, one of the reasons being that they are crystalized in institutions, which contributes to their recursiveness and reiteration. This article explores the reasons for this, reconstructing the modern perspective, the role of subjectivity in it and some alternative views while focusing on the political dimension of modernity. It then goes on to tackle contemporary issues. If we aim to bring about a different world, and this does not exclude recourse to different civilizational alternatives, I argue that it is mostly from within the modern imaginary and institutional framework that we must face up to present challenges. I also suggest that the concepts of collective subjectivity and materiality may contribute to a renewed understanding of these questions within a critical theory perspective.
Tesis sobre el tema "Climate change imaginary"
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Szczurek, Anthony. "India's Temporal Imaginaries of Climate Change, 1988-2018". Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/88984.
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The advent of climate change promises extreme disruptions to existing concepts of political time, namely the distinction between the modes of time adopted by modern nation-states, natural time, and the everyday life of human beings. Yet the nation-state remains the primary actor through which climate politics is shaped. India is one the most prominent actors in the UN Framework Convention on Climate Change (UNFCCC) and also likely to be one of the most climate-affected societies moving forward. Over the 30-year history of India's engagement at the UNFCCC, there has been a shift from constructing a secular, past-oriented imaginary to a sacred, future-oriented one. The state has fostered these temporal imaginaries through three discursive registers: international politics, climate science, and conservative Hindu ideology. These imaginaries act as a heuristic tool with which to analyze the changing dynamics of political temporality in an era of rapid and extreme climate change.Doctor of Philosophy
Climate change challenges fundamental notion of political time, the temporal relationship that embeds actors and processes. Yet this topic is underanalyzed in academic literature, especially when it comes to non-Western states. India has been one of the most prominent actors at the United Nations climate negotiations and also likely to be heavily affected by extreme climate shifts. Over the 30-year history of the UN Framework Convention on Climate Change (UNFCCC), the Indian government has framed the temporality of climate change in two ways. First, from 1988-2004, it constructed and followed a secular, past-oriented imaginary of climate change. Beginning in 2005, and accelerating with the election of Prime Minister Modi in 2014, the government has begun to construct and follow a sacred, future-oriented imaginary. In this way, the State has moved from rhetorically framing climate change as a significant problem to an opportunity that can be met if India and other societies follow conservative Hindu precepts.
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Palmer, Ryan. "Enchanting Irruptions : Wonder, Noir, and the Environmental Imaginary". Doctoral thesis, Uppsala universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-334648.
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This thesis investigates narratives of re-enchantment and disenchantment in three contemporary U.S. novels, Lydia Millet’s Mermaids in Paradise, Karen Tei Yamashita’s Tropic of Orange, and Thomas Pynchon’s Inherent Vice. Drawing on key concepts from ecocritcism and affect theory, I argue that these novels interrogate narratives and affects associated with questions central to the Anthropocene: climate-related dilemmas, questions of environmental justice, and animal ethics. Situating these texts in relation to environmental discourses, I show how affects of wonder and re-enchantment are produced within them through the insertion of anti-mimetic narrative objects into otherwise representationally realistic fictional worlds. These incursions, and the affective shifts they produce, challenge and interrupt in the novels narratives of ecological dread and disenchantment, which I link to the techniques and affects of noir. In each chapter of this study, I show how the dialogical interplay between disenchantment and re-enchantment disrupts preconceptions and assumptions about aspects of ecological crisis, and engenders or reinforces political commitments to environmentally related issues. Chapter One focuses on interspecies politics and animal rights in Mermaids in Paradise, environmental justice is central to the analysis of Tropic of Orange in Chapter Two, and the political dynamics of countercultural environmentalism inform my reading of Inherent Vice in Chapter Three. Throughout, I explore the potential of re-enchantment to suggest an alternative to disenchanted and apocalyptic narratives concerning the environment, and to articulate a productive politics for contemporary ecofiction.
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Cilluffo, Grimaldi Pierre. "Tropiques écologiques : une analyse critique des éco-imaginaires Amazoniens via le prisme de la réactualisation médiatique du « bon sauvage »". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL097.
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Notre analyse apporte une nouvelle compréhension à la figure du « bon sauvage » dans son évolution historique, ses reconfigurations, puis sa portée médiatique et sociétale contemporaine. Le « bon sauvage » est le héros, malgré lui, des errances de l'éco-imaginaire humain devant l'adaptation d'une société occidentale dorénavant obligée à mieux respecter la nature. Néanmoins, nous démontrons que réside un impensée néo-colonialiste derrière les masques respectables et bonnes intentions autour des populations indigènes essentialisées dans une pureté fantasmagorique. A ce titre, nous démontrons que la mise en héro de certaines figures mondiales (ex : Raoni) peut s'appuyer sur un storytelling actif et problématique. Le« bon sauvage » est si vivant au 21ème siècle, s'exposant au cinéma (ex : Avatar) et dans les discours politiques, il en devient un méta-marqueur de l'évolution de nos sociétés occidentales.Sa popularité depuis les récits des premiers explorateurs se réinvente donc sur nos écrans. En cohérence, notre corpus principal s'étend de la fin du 20èmesiècle à de nos jours avec une méthodologie d'analyse dite « icono-discursive » . Nous avons sélectionné une douzaine de contenus sur le « sauvage » / « bon sauvage », une sélection par leurs popularités et durabilité dans la mémoire collective. Ce corpus est la fondation de notre thèse. Nos chapitres sont telles des grilles de lectures pour mieux comprendre notre réflexion de fond et démontrer les tendances sociétales à l'œuvre ou divers conflits de représentations.En effet, nous nous efforçons de saisir les facteurs responsables de ce renouveau populaire du « bon sauvage » et sa transformation en « bon sauvage écologiste ». Exercer l'hégémonie culturelle, c'est transformer l'idéologie en sens commun. Nous croyons en l'approche Gramscienne de la transformation sociétale et le rôle structurant des imaginaires. De ce fait, nous traduisons la force médiatique de l'imaginaire effondriste et l'éco-spiritualisme dans notre analyse médiatique, deux tendances accompagnant la reconnaissance du « bon sauvage écologiste ». Notre propos nuancé n'est pas une critique directe à l'écologie politique, mais plutôt une déconstruction du« mythe amazonien » occidental. Alain Lipietz695 faisait déjà référence il y a une trentaine d'années à ce mythe construit à partir d'un « terreau d'origine (les militants tiers-mondistes et écologistes) ». Un terreau qui s'ouvre aux nouvelles tendances de l'écologie politique. L'étude l'éco-spiritualisme dans notre thèse est relativement novatrice, le rôle de cette nébuleuse dans la consolidation d'un imaginaire mythologique et désincarnée de l'Amazonie est consubstantiel. La popularité grandissante de l'ayahuasca à travers le monde et de ses appropriations culturelles,baignant dans un imaginaire éco-spiritualiste occidental amazonien, prouve la contemporanéité de ces enjeux.Par ailleurs, la dimension internationale de notre thèse est centrale, une réflexion sur les tensions de l'écologie mondiale entre global et local. Cette thèse appréhende les potentiels conflits de représentations sur l'Amazonie entre occident et Amérique Latine. Le « bon sauvage » n'est pas le seul point d'échauffement, nous justifions de manière socio-historique de multiples autres points (rapport à la nature,Wilderness ?). Cela peut ainsi emprunter le chemin d'une analyse des affiches de propagandes sur l'Amazonie de la dictature militaire au Brésil. Elles mettent en perspective le sentiment dominant dans la prise en compte de la territorialité de l'Amazonie Brésilienne, de ses vagues de peuplement et du sens commun sur lequel s'inscrit le Bolsonarisme. Mais, ces imaginaires de territoires ne sont pas éternelles aux évolutions du monde et l'écologie tend à s'imposer aussi en Amazonie. Il s'agira ainsi de s'interroger sur les reconfigurations de son imaginaire de progrès à l'approche de la COP30Our analysis brings new understanding to the figure of “noble savage” in its historical evolution, its reconfigurations, then its scope contemporary media and society. The “noble savage” is the hero, despite himself, of wanderings of the human eco-imaginary faced with the adaptation of a Western society now obliged to better respect nature. However, we demonstrate that lies a neo-colonialist unthinking behind the respectable and good masks intentions around indigenous populations essentialized in a purity sphere. As such, we demonstrate that the heroization of certain figures(e.g. Raoni) can rely on active and problematic storytelling. The “noble savage” is so alive in the 21st century, showing up in cinema (e.g. Avatar) and in political speeches, it becomes a meta-marker of the evolution of our Western culture. Its popularity since the stories of the first explorers is reinvented therefore on our screens. Consistently, our main corpus extends from the end of the 20th century to the present day with a cultural studies methodology. We have selected a dozen pieces of content on the “savage”/“noble savage”, a selection by their popularity and durability in collective memory
Libros sobre el tema "Climate change imaginary"
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Wassestorm, Robert. Zona intangible del Yasuní: Entre el manejo territorial y la geografía imaginada. Quito, Ecuador: Abya-yala, 2018.
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Lymburner, Louis. Will Ghündee: Le passage intemporel. Waterloo, Québec: Éditions M. Quintin, 2006.
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Lymburner, Louis. Will Ghündee: Le passage intemporel. Waterloo, Québec: Éditions M. Quintin, 2006.
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McAuley, Paul J. The Quiet War. Amherst, NY: Pyr, 2009.
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Toly, Noah J. The Gardeners' Dirty Hands. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190249427.001.0001.
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In The Gardeners’ Dirty Hands: Global Environmental Politics and Christian Ethics, Noah Toly engages the resources of Christian theological ethics to identify, explore, and respond to the most salient feature of contemporary environmental challenges. In conversation with contributions to Christian ethics, Toly argues that modern environmental thought, global environmental governance, climate change, and the Anthropocene are characterized by a struggle with the tragic, which may be described as the need to give up, forego, undermine, or destroy one or more goods to possess or secure one or more other goods. Drawing upon the work of Dietrich Bonhoeffer, Toly develops a “Cruciform imaginary” that should inform our responses to the tragic.
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Bacon, Simon, ed. Zombie Futures in Literature, Media and Culture. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350285521.
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An innovative investigation into how zombie narratives over the past ten years have been specifically leading up to a unique intersection with the world as it exists in the 2020s, this book posits the undead as a vehicle to communicate humanity's pathway into, and out of, the ideological, health and environmental pandemics of our time. Exploring depictions of zombies across literature, poetry, comics, television, film and video games, Simon Bacon brings together this timely intervention into how zombies enable speculation about future modes of being in a changing world and represent the fluid notion of ‘old’ and ‘new’ normals. With each chapter moving beyond traditional readings of the undead,Zombie Futuressituates the zombie as an evolving cultural imaginary at the centre of discourses around how human cognition and embodiment are effected by global realities such as consumerism, new technologies, climate change and planetary degeneration. Structured around contagious partisan ideologies, ecological sickness, mental health crisis and the very literal COVID-19 virus, this book establishes how the zombie figure might manifest post-human and post-normative futures. Works featured include graphic novels and comics likeThe West + Zombies,CrossedandEndzeit,the South Korean series and filmsKingdom,Train to BusanandPeninsula, The Last of Us and the Resident Evilgame franchises, Bollywood horror anthologyGhost Stories,Joss Whedon'sSerenity, Cargoand literature such asThe Girl with All the Gifts, the fiction of Stephen Graham Jones and Ryan Mecum's Zombie Haiku. In a time when popular culture and scholarship has been overrun with the undead, this original study offers a refreshing look at the zombie and what it can tell us about about our world going into and emerging from global catastrophe.
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Groves, Jason. The Geological Unconscious. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288106.001.0001.
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Already in the nineteenth century, German-language writers were contending with the challenge of imagining and accounting for a planet whose volatility bore little resemblance to the images of the Earth then in circulation. In The Geological Unconcious, Jason Groves traces the withdrawal of the lithosphere as a reliable setting, unobtrusive backdrop, and stable point of reference for literature written well before the current climate breakdown, let alone the technologies that could forecast those changes. Through a series of careful readings of romantic, realist, and modernist works by Tieck, Goethe, Stifter, Benjamin, and Brecht, the author traces out a geological unconscious—in other words, unthought and sometimes actively repressed geological knowledge—where it manifests in European literature and environmental thought. This inhuman horizon of reading and interpretation offers a new literary history of the Anthropocene in a period where this novel geological epoch, though arguably already underway, remains unnamed and otherwise unmarked. These close readings also unearth an entanglement of the human and the lithic in periods well before the geological turn of cotemporary cultural studies. In those depictions of human-mineral encounters on which The Geological Unconcious lingers, the minerality of the human and the minerality of the imagination becomes apparent. While The Geological Unconcious does not explicitly set out to imagine alternatives to fossil capitalism, in elaborating a range of such encounters and in registering libidinal investments in the lithosphere that extend beyond Carboniferous deposits and beyond any carbon imaginary, it points toward alternative relations with, and less destructive mobilizations of, the geologic.
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Iron Winter. Orion Publishing Group, Limited, 2012.
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Iron Winter. Gollancz, 2012.
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Iron Winter (The Northland Trilogy). Ace, 2014.
Buscar texto completoCapítulos de libros sobre el tema "Climate change imaginary"
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Reed, Maureen G. y Gun Lidestav. "Gender and the Imaginary of Forestry in Boreal Ecosystems". En Advances in Global Change Research, 555–74. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-15988-6_22.
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AbstractIn this chapter, we examine forestry work in two boreal regions—Canada and Sweden—where gender mainstreaming has long been established in government policy. Despite having policies that support gender equality in both countries, the roles, opportunities, remuneration, and expectations of women and men engaged in forestry work are highly differentiated by gender. We explain this discrepancy by considering the way in which forestry work has been and continues to be imagined. The narrow interpretation of forestry as “tree cutting” has reduced the visibility of women and continues to narrow the range of activities deemed valuable to the forestry sector. By asking questions about how forestry has been imagined, we seek to catalyze fresh thinking about the nature of forestry work and the capacity of the forest industry in both countries to adapt to climate change.
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Qin, Botao, Nan Zhang y Yaru Wang. "Does an Imaginary Trip to the Future Increase the Contribution to Climate Change Mitigation?" En Energy Transitions and Climate Change Issues in Asia, 217–31. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-1773-6_8.
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Chivasa, Norman. "Rethinking Peace: Some Reflections on The Imaginary Nature of Contemporary Peace Model". En Climate Change and Socio-political Violence in Sub-Saharan Africa in the Anthropocene, 241–51. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-48375-2_11.
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Hemkendreis, Anne y Anna-Sophie Jürgens. "Communicating Loss: Ice Research, Popular Art and Aesthetics: Introduction". En Communicating Ice through Popular Art and Aesthetics, 3–24. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-39787-5_1.
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AbstractClimate change—in the form of melting ice—is one of the greatest challenges of the twenty-first century—a challenge that is difficult to measure, visualise and communicate. Communicating with, and about, ice through different media—including art, images and (popular) visual fiction—gives ice agency. As an active agent evocating the climate emergency and inspiring climate awareness, ice is more than a passive stage in science, (popular) arts and aesthetics. The visual culture and cultural ideas of ice are deeply rooted in colonial fantasies from the nineteenth century, in which ice functioned as a sublime testing ground for heroic deeds. Today, this imaginary has been questioned and transformed into moments of encounter, emotional address and feelings of connection. Using ice for aesthetic communication of climate change challenges the presumed superiority of humans above nature. It gives hope for a fundamental change in material presence (with ice as a shape-shifter) and thus leads to an emotional entanglement of humans with the world’s cryosphere. This chapter not only illuminates the cultural power of ice research but also contributes to a better understanding of the cultural work that emerges from our ecological crisis.
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Ramírez-Blanco, Julia. "Pandemic Pastoral". En The Pandemic Visual Regime, 237–58. Earth, Milky Way: punctum books, 2023. http://dx.doi.org/10.53288/0448.1.10.
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Ramírez-Blanco reads the complex representations of the “natural” realm that have taken place during those times in which people felt further than ever from other forms of life, human or non-human. Confinement in many cities gave rise to empty streets, and vacant buildings, creating images of uncanny beauty that can be perceived as a kind of “pandemic sublime”. However, many people trapped at home became ever more nostalgic for an idealized nature, perceived through their computers and phones, and which mediated in different fictionalized or direct ways with the non-human realm. Through videos, phone calls with non-human animals, or even a “back to the land” movement after confinement, this chapter traces how the “pandemic sublime” has lead to the construction of what can be termed a “pandemic pastoral”. The author makes clear how, in its sentimental and non-ideological dimensions, this imaginary needs to be politicized if we want to respond to the next global emergency: that of present climate change and environmental destruction which led to the pandemic in the first place.
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Frattari, Camillo. "Teaching Architecture in the Age of Fragility". En Springer Series in Design and Innovation, 94–101. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-71959-2_12.
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AbstractThe origin of academic architectural education can be found in the inauguration of the Académie d'Architecture in 1671 in France based on the idea of knowledge as the transmission of a ‘style’. This idea continues to characterize contemporary architectural education but in a different way, through the pursuit of a personal aesthetic expression or in the satisfaction of real estate and construction market requirements as a cynic acceptance of reality. To conceive architectural education only as serving the market is to lose the meaning of architecture itself as a way to design, and improve, humanity. The contemporary age is characterized by the notion of fragility that represents the many uncertainties of our time related to different issues involved in politics, economy, energy, ecology, and demography. In the field of architecture and urban design, the main causes of fragility come from the phenomena of planetary urbanization and climate change that are visible in disaster, migration, periphery, inequality, diversity, and planetary crisis. While the ‘Academié’ model of education is founded on the knowledge of historical buildings in their aesthetical prerogatives, an architectural education focused on the contemporary issues of fragility needs to be based on the knowledge of projects that faced these challenges, to define a conceptual framework of a new agenda with new theories, technics, and references. Teaching architecture in the age of fragility means promoting the critical role of architects inside, and for, human society through projects of adaptation, hospitality, community, process, coexistence, and imaginary.
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Weintraub, David A. "Imaginary Mars". En Life on Mars, 46–54. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691209258.003.0004.
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This chapter cites astronomers that began imagining a Mars that was in every way like Earth and began terraforming Mars in their minds in the 1830s. It explores the act of terraforming Mars that would change its physical environment as it would become an Earth-like world where humans could live, with a temperate climate, running water, and a breathable atmosphere. It also talks about Earthbound astronomers in the nineteenth century that could not actually terraform Mars but could reshape their collective understanding of Mars and change it from a hostile world into one where humans, butterflies, and ferns could all live. The chapter emphasizes how imagination combined with herd instinct could become powerful tools for self-deception. It mentions Wolff Beer and Johann Heinrich von Mädler, who carried out the pioneering work of terraforming Mars and carried out a program of repeated observations of Mars from 1831 through 1839.
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Powlson, David S., Andy P. Whitmore y Keith W. T. Goulding. "Soil Carbon Sequestration for Mitigating Climate Change: Distinguishing the Genuine from the Imaginary". En Handbook of Climate Change and Agroecosystems, 393–402. IMPERIAL COLLEGE PRESS, 2010. http://dx.doi.org/10.1142/9781848166561_0020.
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Stripple, Johannes. "Environmental Security: Policy within a Violent Imaginary". En Conceptual Innovation in Environmental Policy. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036580.003.0011.
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The environment is now well established as part of an imagery of a world that is becoming more violent, more conflict ridden and less secure for many people. Imaginations of a climate changed world feed into a horizon of the future that is increasingly understood as indeterminate and uncertain, thereby requiring new modes of preparedness and precaution. While writings on security and the environment existed before the 1990s, it was the end of the Cold War that unlocked and energized the nexus. Environmental security remains an ambiguous concept with many fault-lines among and within academia, think-tanks, environmental organizations and the military establishment. Much scholarship has been preoccupied with the question of how to best define environmental security, but security needs to be recognized as a mode of governing that does things, and that needs to be approached in terms of its effects. Hence, the question: what kind of new political practices become legitimized when climate change is increasingly governed as an emergency?
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Paprocki, Kasia. "The Village at the End of the World: Ecologies of Urbanism in Climate Crisis Imaginaries". En Death and Life of Nature in Asian Cities, 64–81. Hong Kong University Press, 2021. http://dx.doi.org/10.5790/hongkong/9789888528684.003.0004.
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This chapter outlines two different normative imaginaries of life in the Sundarban region straddling Bangladesh and West Bengal in the time of climate change. One imaginary embraces the primacy of forms of life including shrimp aquaculture and middle-class tourism from nearby cities, while the other values agrarian livelihoods of existing rural populations. The tension between these two imaginaries is brought to the fore in narratives of climate change adaptation through urbanization and export-led growth. I investigate these tensions through the experience of migrants from rural coastal Bangladesh to peri-urban Kolkata. The chapter thus illuminates different understandings of ecological gain, loss, and threats, and how some are brought more fully to life, while other risk death and demise, in the climate changed present and future.
Actas de conferencias sobre el tema "Climate change imaginary"
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Rodríguez Mattalía, Lorena. "El Colapso (Les Parasites, 2019): audiovisuales online y crisis ecosistémica". En II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13214.
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La crisis provocada por el COVID-19, que ha modificado nuestro modo de vida e impactado en la economía mundial, comprometiendo nuestra capacidad de organizarnos globalmente, nos ha puesto en contacto con la vulnerabilidad de nuestra forma de vida. Recordemos que las clases medias ya se habían visto duramente afectadas por la crisis económica de 2008, que llevó a duros recortes neoliberales en el Estado del Bienestar. A este panorama hay que añadir, desde los años 70, las advertencias de que es imposible un crecimiento económico constante en base a recursos naturales finitos, que nuestro modo de vida está desequilibrando todos los ecosistemas, modificando el clima, etc. Todo ello sugiere que este sistema no va a poder mantenerse indefinidamente, lo cual está impactando en nuestra cosmovisión, hasta el punto de que existe una línea de pensamiento “colapsista” que mantiene que el hiperconsumismo va a llegar su límite, lo cual llevaría a un colapso (económico, de suministros básicos, salud pública, etc.) que, de hecho, ya se ha instalado en los llamados países “subdesarrollados” y que acabará impactando en los demás. En nuestro panorama cultural estas graves preocupaciones están presentes -con investigaciones, films, series, obras de artistas, etc.-, donde el medio audiovisual tiene un importante papel en la actual cultura de la imagen y la conectividad online. En dicho contexto, centraremos nuestra atención en la serie L’Effondrement (El Colapso, 2019) producida por la plataforma digital Canal +. Está realizada por un colectivo de tres jóvenes realizadores, “Les parasites” (Los parásitos) que, desde 2013, difunde sus cortometrajes en su canal de YouTube (https://www.youtube.com/channel/UCqS1gDNHEX3FgJ8dPfSuRoQ). La serie tiene 8 capítulos de unos 20 minutos que muestran cómo sería ese hipotético colapso: falta de suministros en supermercados y gasolineras, organización de alternativas posibles en forma de ecoaldea, peligro de centrales nucleares sin mantenimiento, creación de islas de bienestar solo disponibles para los ricos, etc. En 8 escenarios concretos, separados por saltos en el tiempo (2 días después del colapso, 5 días, 50 días…) se va desgranando una historia abierta que enfrenta al espectador/a con un crudo encuentro con lo real. Pero lo más interesante de esta serie es su apuesta audiovisual: cada capítulo es un único plano secuencia filmado al estilo “Dogma”, en cámara al hombro, que provoca una sensación de verosimilitud por la ausencia de fragmentación del espacio-tiempo. Además, también es notable que la serie ha funcionado como evento online, pues, además de estrenar los capítulos en la plataforma de pago que la produce, posteriormente se difundieron en abierto en su propio canal. También colgaron, un año después, toda la serie acompañada de vídeos making off, reportajes y debates sobre los temas “sistémicos” -utilizando sus palabras- que les preocupan. Este es pues un claro ejemplo de cómo el audiovisual, a través de las plataformas online, puede “hacer presente”, construir discurso, traer al primer plano cuestiones que a menudo son silenciadas o tratadas con poco rigor o intereses económicos; cuestiones -como una sostenibilidad que realmente se preocupe por organizar sociedades justas desde el punto de vista ecosocial- llamadas a construir un imaginario colectivo fuera del pensamiento único.