Creativity in the Face of Climate Change

welcome to today's event creativity in the face of climate change the role of the humanities in awakening societal change I'm Dan McGrath I'm the executive director of the Berkeley Institute of the environment we're excited to present this unique and important discussion with this great assembly of UCI's leading scholars in the linkage of humanities to the environment the event is co-sponsored by the Berkeley Institute of the environment the UC Humanities Research Institute and the UC Berkeley Townsend Center for the Humanities and the event is being held in conjunction with our community partner the watershed environmental poetry festival being held on Saturday November 1st at the City of Berkeley municipal park and sponsored by poetry flash which is an organization dedicated the widest possible access of poetry the Berkeley Institute of the environment was recently created as part of one of five multidisciplinary initiatives here at UC Berkeley and its role is to expand and coordinate UC Berkeley's research and education in the environment across all disciplines to create the best possible environment for faculty and students interested in the relationship between climate change and sustainable society to launch interdisciplinary scholarship professor Amina's Fung the faculty co-director of BAE said something to me when I began this role here at the ien she said it that it that for bie to achieve its envision success we had to find a way of embracing all the disciplines at UC Berkeley into the BI mission or tagline of the future of the planet professor Fung said that creating change towards environmental sustainability was not just the purview of the XY graph of people to bring to begin this conversation I'd like to introduce to you professor Ynez Fong thank you very much for being here Stan said we've been trying to build the Berkeley the environment effort at Berkeley and one of the things one of the lessons we have learned year after year is that climate change is a human issue and so it is very important not just to work on the science which I've been working on for 25 years or more on this science issue of climate change but to have change is to understand the value of the of the environment the value of climate and climate change has expressed through the humanities as expressed through poetry through literature through film and it is an appreciation of our diverse culture and our diverse appreciation of the environment that we can achieve a change and then have a proactive a dialogue about what future we would like so gives me great so this particular event is very gives me tremendous pleasure and I really thank everyone for coming and for Bob Haas for helping lead this effort so bob has I'm sure many of you need no introduction to this audience he's a professor of English here at UC Berkeley and he's the American poet of our time I have your book so I have many of the books so Bob joined the faculty at Berkeley in 1989 he has won many honors critical acclaim for his work through his career and there isn't time to name them all over to use up all the time today but more importantly he was awarded the Yale series of younger poets Award for his first book field guide in 1972 that 1984 National Book Critics Award Circle Award for criticism in the 20th century pleasures prose and poetry and the National Book Critics Circle Award for poetry for son Underwood in 1996 his most recent book time and materials won the 2008 Pulitzer Prize for poetry and the National Book Award for poetry in 2007 he became a well-known spokesman for litter for literacy poetry and ecological awareness while serving two terms as the US poet laureate in addition to everything else I think our freshmen really appreciate the courses teaching introduction to environmental studies with Garrett Swasey doe who is a professor in engineering so I'm very gives me great pleasure to introduce Bob Haas Thank You Ynez and thank you Dan I hope that part of the function of this event will be to introduce the Berkeley Institute for the environment and Dan and eNOS to the humanities faculty and graduate students and undergraduates who are here I've been in the last year at three different universities Princeton which has begun an institute of the environment and I said what are you doing in the humanities and they said we're trying to figure out how to do that what are you doing at the University of Tel Aviv which said we're trying to figure out how to do humanities end and the environment and last week I was at Peking University in Beijing where the English professor who teaches the Eco criticism course was saying I've been dying to hear from you about what how they're doing ecological criticism at Berkeley and I had to say we're working on it so the thrilling part of today's event is that we have with us for very distinguished scholars who have been doing that kind of work and who we could just going to have a better group a panel to begin to open up the this discussion at Berkeley um I would say by way of introduction one little allegory on the condition of nature in the 21st century I recently visited the demilitarized zone between North and South Korea which is the most militarized piece of real estate on earth and the last tripwire of the Cold War it extends from the mountains on the eastern side of ceará at least they look like the Sierra the mountains and the eastern side of the Korean Peninsula to the River Delta on the other side about five miles wide 180 to 220 miles across with buffer zones of ten five miles on either side the interest of this place with two armies facing off against each other on either side is that over the last 50 years because it's unspeakably dangerous for human beings to go into it is that it's become an immense accidental Game Preserve I need to back up and say that cranes as a species are about 12 million years old that the existent cranes are between 8 and 10 million years old that in Asia there are 8 species of crane that fly back and forth from the northern southern hemisphere do their ritual dances guard their eggs they've been doing it for 10 million years 7 of those 8 species are endangered by human beings and by habitat fragmentation 2 of them are making a comeback Chris vo the white-naped crane and Grusin instance the red headed crane and they're making a comeback because they're breeding in the Demilitarized Zone which means that if there's ever rapprochement between North and South Korea and the threat of nuclear war has ended there will probably be economic development in the Demilitarized Zone and those two species of cranes ten million years old will be gone from the kinds on earth it's a complicated world that we live in I just came directly from my introduction to environmental studies class and speaking to us today was a one of Berkeley's amazing scientists man named Max Moritz who directs the UC fire ecology center he's been doing incredible mappings of fire patterns and weather patterns in California and in the world and in laying out the different paradigmatic models through which human beings can think about and prepare for the results of and the uses of fire in environment what he said to the students was that fire ecology depended on really two different paradigms or points of view toward the phenomena that he was laying out one was an equilibrium or bottom-up model which took the view of nature that it was always trying to achieve a state of equilibrium through certain kinds of patterns of succession and that the events that disrupted it disrupted it fire storms disrupted it as it tried to return toward equilibrium and another he said the stochastic view top-down which is that weather conditions the sheer uncertainty of the planet on its wobble in fact create a world of endless random unpredictability in which equilibrium is a kind of dream and he said these connect very much to the two fundamental ways of looking at the history of Forestry in the United States the fight between John Muir and Gifford Pinchot the friend of Theodore Roosevelt who created the u.s. Forest Service Gifford Pinchot was a deep believer that God gave man the resources of the earth to use and and John Muir believed with equal vigor that God gave man the the wilderness to leave alone and he thought that this view of the world as a temple and the world as a resource were also connected to the ways that the equilibrium forest ecologist and the stochastic forest ecologist thought about the world it was a kind of pure demonstration for our students of something we've been saying which is we don't just need science to think about our future in relation to the earth we need an art to think about it and we need philosophical clarity to think about it and we need to know something about the history of our ways of thinking about the earth to understand where we are and how we've treated it so the this group of distinguished scholars are exactly the people who have been thinking about that my own education in this subject has come from the beginning from reading Carolyn Marchand who has been on the Berkeley campus the the doing this kind of work long before anybody else was thinking about it or knew what to think about the fact that somebody was thinking about it Carolyn is a professor of environmental history philosophy and ethics she conducts research on these three topics and on their interrelationship she focuses on American environmental and cultural history in the overall context of Western history philosophy in the history of science her recent book she's written so much reinventing Eden the fate of nature and Western culture has been hailed as a powerful narrative exploring how the drive to conquer nature actually Springs from a utopian pastoral impulse in Western history Timothy Morton of UC Davis professor of literature in the environment is an internationally recognized thinker on the connection between ecology nature culture science and philosophy his recent book ecology without nature rethinking environmental aesthetic has been widely hailed as a manifesto of dark ecology a realistic take on the human condition without resorting to extremes of false optimism or fatalistic tones of apocalypse it's one of the essential books for thinking about environmental philosophy in our time Michael Osborn from come from UC Santa Barbara we're so grateful you made the trip is a professor of history a historian of a life science doesn't explore deeply the history of environmentalism since 1995 he's directed UC Santa Barbara's group on the humanities in the environment funded by the UC Humanities Research Institute his current research project new visions of nature science and religion funded by the John Templeton Foundation it's an exploration utilizing social scientific and humanistic methods to study nature and spirituality Robert Watson from UCLA we're also glad for you're making this trip is a professor of English a preeminent scholar of Shakespeare in English Renaissance poetry however his thinking has turned the relationship of ecological advocacy in Renaissance literature and the message it has for us today his latest book back to nature the green and the real in late Renaissance is hailed as an impressive work of scholarship and it recently received the 2007 was deep memorial prize which is awarded annually for the best book published in early modern studies as well as the Association for the literature and the environment the as lis prize for the best book of eco criticism between 2005 and 2007 we're really very grateful to have you all here please welcome and our format is going to be to go in alphabetical order and and ask each of the panelists to talk for a little while about their work and what they're doing and then we hope we can open the the open ourselves to general conversation so we begin with Carole and Marcia thank you it's wonderful to be here and to participate in an event which I hope will bring the environmental humanities together in the effort to form a theoretical framework and a collegiality an approach that we can use I think to respond to this incredibly important issue of climate change I'd like to acknowledge the work of my collaborator Jennifer Wells who's here in the audience in the remarks that I'm going to make and I think that climate change offers us the following incredible statement that responding to climate change is the moral imperative of our time and that calls forth f of climate the climate ethic justice of climate climate justice the contributions of the Arts and history and spirituality of the formalized religions to the issues facing humanity in the 21st century just yeah two days ago Prince Charles and of England said that the global credit crunch will be temporary but the effects of the climate crunch are irreversible well we need to think about how to reverse or how to adapt humanity to the changing climate and how to live within an environment that is going to be rather different over the next several decades then we see it today in the end of nature Bill McKibben a very provocative title very much like Prince Charles's statement says that no area of the earth remains untouched including the atmosphere of the Arctic and so we have to think about what the Arctic and its atmosphere have encountered as a result of human pollution and use of fossil fuels over the last certainly 300 years or so but even earlier than that the Kyoto Protocol which was ratified in 2005 by 30 industrialized nations the United States and Australia accepted wants to cut the emissions to 1990 levels by 2012 well that's not very far away and are we making progress toward this at least in California we have passed a b32 the global warming solutions Act in 2006 that advocates reducing global greenhouse gases to 1990 levels by 2020 well that gives us a little bit more time but the problems I think that face the humanities in bringing this moral imperative to the attention of everybody are very very important Al Gore called when he won the Nobel Prize with the ipcc he called this a moral and spiritual challenge to all of humanity so the questions before us out how are the humanities responding and what kinds of ethical systems can we develop what are the impacts on people especially peoples of different race class and gender throughout the world in developed countries and developing countries and what kinds of new conceptual frameworks can we put forward for the interaction between nature and culture and the new techno environments of the 21st century it seems from studies that individuals are willing to make sacrifices Anthony Lazzaro wits did a survey in 2007 in which he said that over half the people in his survey said that people were willing to take individual changes into consideration in their lives such that they would pay more for fuel efficient automobiles pay more for energy produced from wind solar and renewable sources even if it costs more and they also agreed that the United States ought to enter into an international treaty to reduce emissions so if we take the case of climate ethics we need to think about a new ethics that deals with the moral obligation to address inequities inequities among present generations and especially future generations every aspect of climate change is an ethical issue a setting target setting a cap-and-trade systems for emission trading what responsibilities will the nation the state and individuals take on what does fairness mean in an age of warming a Peter Singer of the ethicist argues that the atmosphere is a Commons it's a resource on which we all depend and it's a scarce resource that really nobody owns and therefore we have to look at it as a example of the tragedy of the Commons and our actions are open to moral assessment and moral responsibility so that existing ethical theories may not be adequate to deal with the complexity and transdisciplinarity of the issues facing us my own approach to environmental ethics is what I call a partnership ethic and I think it has some possibilities for helping us with the dilemmas presented by climate change my ethic is as follows that the greatest good of the human and the nonhuman communities together is in their mutual living interdependence this is an ethic that's grounded in process and in the relationship between humans and non-human nature in a particular place whether that place is a local place or the globe itself so we want to think about the moral consider ability of other species as well as humans we want to think about how to maintain cultural diversity and biodiversity together what about equity between humans and non-human communities and especially how do we bring into the code of accountability women and minorities and human nature itself so that the health of the human community and the nonhuman community can be maintained now in my climate ethics raises the question of justice what would a climate justice look like what is the extension of environmental justice which looks at the unequal distribution of environmental burdens and benefits for a new theory and new theoretical approach approaches to climate justice what about the role of communities of color in setting an agenda for the future how will new theories of climate justice be defined by those very people who are affected by it the most what will their future look like in the existence of diminishing resources diminishing subsistence poverty flooding and the like so native peoples have identified a number of areas of immense concern to them such as water and agriculture human health the loss of wildlife borders with other countries and the impact of tourism so they want to see agencies and institutions set up that will particularly help them to deal with issues of climate justice another example of the way in which humanities interacts with and can help us in the face of climate change are the arts and images are very important in shaping public opinion so perhaps a single image or a collection of images may go much further than many pages of words to help people to see and feel and emotionally we wait to the impact of climate change so a literature and poetry art and photography can all help with the framing of responses to climate change and one example is the artwork of Olaf or Eliassen who has created an ice car and it was on exhibition at the San Francisco Museum of Modern Art and he had it encased in a framework so that you to view it you had to put on a thermal jacket to go and look at the ice car so he argues that images like this can help us to grasp the importance of what a car such as what he could the BMW h2 our model can bring to the future another example is the Cape Farewell project Arctic expeditions that are taken with artists and writers to the poles and other expeditions to the Himalayas and to the Andes to view and respond to issues of climate change we have examples of landscape art in the u.s. throughout its history of writers such as Steinbeck Grapes of Wrath that looked at the effects of change in climate on the Great Plains and its impacts on California so there is a deep history of response an image imagery that can be helpful to us and then the last way that I'm going to speak about right now of responding to climate change comes from the religions and domains the mainstream narrative that I argued in the my book reinventing venting Eden was that the since the Scientific Revolution of the 17th century the whole earth has been recreated to imitate the Garden of Eden by cutting down forests and irrigating deserts and totally managing the planet so what does climate change do to this narrative which into which we've all been socialized it threatens the possibilities that humans can control and manage of the environments around us and it challenges the very issue of predictability which is fundamental to the mechanistic sciences so in the face of the changing narrative which we have all been socialized into and and in a sense live our lives within needs to change and how can that change well religions are taking up issues such as this and engaging the causes of climate change and trying to produce solutions so green faith of New Jersey is transforming all their meeting places to use of renewable energies they're putting solar panels on all their faith-based sites the Interfaith Center on corporate responsibility as taken reversing global warming at us as its top priority the evangelical climate initiative is another example of the religious right and they're called to change in the face of climate change and even the Vatican held a conference on climate change in development on the moral obligation to address climate change and Pope Benedict the sixth is going to issue in and encyclical on climate change so I think these are just a few examples of how climate change can push the humanities to think about new frameworks and new ways of coming together we need new theoretical frameworks we need concepts and theories that include things like critical race theory and definitions of nature and nature cultures plural of Technol nature's of the posthuman and most of all to provide new ethical frameworks thank you Tim Burton we don't speak loud enough so um thank you so much for having me to this to this panel and I feel a little bit kind of like we've all been asked to be The Lorax you know and we speak for the trees and after this we're going to sort of hoist ourselves into the air and disappear but you know the part and part of that feeling actually is a feeling of immense sort of privilege and why the hell am I doing this why have I been asked to do this and a feeling of urgency yeah and there's some kind of sense of how can we put climate change even into words there's something about climate change that's almost almost unspeakable so in the in the in the spirit of sort of breeding in the Demilitarized Zone that Robert very kindly offered us that phrase I'm going to try to do some breed some ideas in this hopefully Demilitarized Zone by now first I'm going to talk about the face of this is called creativity in the face of climate change yeah so I'm going to first of all say what I think were in the face of and then I'm going to talk about creativity in the face of that so yeah the the question is of course what what is this climate change and how much is it and how how long is it going to go on for and how long have we been in it has it started yet you know all those sorts of questions are our kind of symptoms actually of how far in we actually are to this moment which you could describe if you were a fan of Alain Badiou as an event you know with the capital e which I actually think thank you Conant for pointing out that the credit crunch it's it's not only like the credit crunch it is the credit crunch in some way the credit crunch being about the collapse of the economy some kind of possibly temporary sort of gap in that symbolic order has been revealed and the rugs been pulled out from under our feet and we've realized that this thing called Wall Street isn't over there you know it's not like something that just happens to us like a cloud or a mountain that actually it's it's in my wallet right and that Main Street and Wall Street are actually not separate but they are in fact kind of some somehow extremely intimate like two sides of a of a piece of paper I think exactly the same thing is going on with climate change because what's happening in a way is that we're realizing that you know like that awful Michael Jackson song we are the world but not in a kind of nice utopian hippy way yeah we're realizing it we're realizing it the hard way and that has to do with realizing that absolutely everything is interconnected you know so the leg bones connected to the head bone and the head bones connected to the foot bone and the foot bones connected to the earth bone the earth bones connected to the toxic dump bone the toxic dump bones connected to the mercury bone the mercury bone is connected to the inside of my bloodstream bone and I'm in a hell of a mess you know and I'm in a hell of a mess so I think that I think the word we're looking for here is grief and I think if the humanities have anything to do with creativity in the face of climate change that has to be to do with working with working with grief working with something like what Adorno said about philosophy you know like the best philosophy would be a scream that was perfectly articulated with footnotes and you could understand it and and yet it you didn't lose any of the scream quality you could completely understand it and it would be a scream simultaneously that would be the highest form of philosophy and I think that's kind of what we have to do right now is is scream with intelligence so in some way being in in the midst of climate change it's like being in war you know which is also happening of course you know it's sort of it's everywhere and it's nowhere at the same time it's an ambient phenomenon you can't actually point to nature anywhere anymore because the distance has collapsed and so we're left without any bearings some things so things have become extremely vivid and at the same time extremely unreal simultaneously and for exactly the same reasons and so I think anybody who's interested in in poetry and art and philosophy and religious and religion and all the things that we do in humanities has it has a very important job to do here because because we deal with things that are extremely vivid and also our structures that are having some some kind of emptiness to them so at the same time as we're losing the ground we're actually experiencing something extremely intense and it's it's it's actually a symptom of that is the fact that we now no longer can have that chat about the weather that you used to be able to have right you know you sort of see somebody and of course I just had it but it sort of petered out and because we both became aware hey we're in a panel on climate change here and so you meet somebody oh nice weather we've been having funny weather slightly strange interesting with a dot either somebody then says oh well you know global warming nah or they don't but in both cases global warming has kind of eaten the weather like like pac-man yeah so now there's no weather anymore because weather has turned into climate and you can't actually see climate you can't actually pointer it you know so when right-wing people say oh well it's snowed in Boise Idaho two weeks ago you know that doesn't mean global warming isn't happening that means that they don't know the difference between weather and climate climate is kind of like climate is too weather like momentum is tip velocity right you can't directly see it in a way and even computers have trouble modeling it you know so they've just started being able to model it and you need a processing speed something like something in the region of terabytes per second yeah so my poor brain can't process it I need this sort of prosthetic cybernetic machine to see it right so part of the experience that we're in is a kind of experience of sort of ontological some kind of gap ontological gap and that has to do actually with realizing that maybe there's some kind of fundamental ontic gap in other words it's not just the way we understand things is kind of torn and broken and incomplete maybe reality itself is sort of torn and broken and incomplete and that's very disturbing it's kind of like being in a cinema and you're watching the movie you know maybe it's a tuck offski film you know and you see how Tarkovsky plays with the film surface you know and it looks like a film about a film you know you see the sort of waves of the ripples of the stream there and all the objects buried in the trinkets buried in the in the sand and then the cinema then the film actually seems to melt turns into stand bracket all of a sudden and then you realize that actually it's not the film its stock itself that's melting but actually the cinema screen on fire and then you realize that actually your seat isn't a seat but it's actually this huge pile of maggots and so it's kind of a really bad trip that we're all on right now so I think it's perfectly okay to be to panic it's perfectly okay to feel grief it's perfectly okay to be depressed I think there's a lot of intelligence in into inter pression and in the Middle Ages they actually said you know melancholia is the earth humor right it's the one that's the closest to the earth so in some way that's that's how we're hitting bottom right now yeah and you know I think the process for me personally I can't speak about anybody else but for me personally the process goes kind of it starts with guilt and inside the guilt is the shame and inside the shame is the depression and inside the depression is this sadness and inside the sadness is this openness and then there's this realization that where everything's interconnected you know what does this actually mean well it kind of means two things first of all it means that there's less of everything than we thought you know so kind of I'm a reductionist that would that way you know in some way there's no such thing as nature like this rarefied thing over there and by the same token it's all very everything's very intimate right you know so you know I made up of cells those cells are hosts symbiotic hosts two very ancient bacteria those bacteria are made up of DNA the DNA itself we know there's no human flavored DNA right because humans share 98% bla bla bla chimpanzee but also humans are 35% daffodil you know grateful Wordsworth and and so so in fact also there's no DNA flavored DNA because DNA itself contains viral code insertions so you can actually tell if if you could chew DNA you couldn't go oh this is authentic DNA this is a viral insertion DNA so what we were calling nature is this queer amazing sort of queerness all the way down you know which is very which is wonderful and also disturbing and exciting and strange and so what do we do with this in a way I think words who have had it right or the very beginning of this process we call industrial capitalism you know when when Wordsworth is describing an intense experience the way he does it is kind of like this the experience I was having was so intense that I almost didn't realize I was having it that's kind of where we're at right now it's like being in a car crash everything's totally vivid time slows down you can see everything car is crashing you know so this is our moment where we can actually realize wow we have this consciousness and we can actually choose to existentially own this situation and ethically as Carolyn says you know we actually have to assume responsibility in the face of literally and I'm thinking almost of levy nose that idea of the the other is always already before me you know even on sort of below ontology level and I am directly responsible for her or it or him or and how can we so easily tell right whether it's a her or an ed or ahem so we're losing a fantasy and and losing fantasies are hard you know so just so at the very same time as we're actually realizing that we've been messing up the planet we're also realizing that this concept nature is kind of melting before our eyes you know but don't let's tell Sarah Palin too quickly because she's going to take what I just said and and think that that means that we should drill in the Arctic refuge right so you know this is a like a footnote to a footnote have to be kind of secret about how we do this okay so okay creativity that's basically four things first of all something I'm calling apocalypse no you know apocalypticism we just shouldn't be doing it anymore because apocalypse is on the cioms that there's this catastrophe about to occur and there's some kind of amazing sort of voyeuristic almost sadism about apocalyptic language that's about like having a video of your own funeral you know like I'm still existing and I can see the world as if it had been destroyed you know and so I think that's a bit of a problem and the apocalyptic language which ecology ecological writing is very much invested in has a lot to do with you know not actually pointing out that the catastrophe as such has in fact already occurred right so apocalypse no number two science as art and art as science we have to do things like art that listens to the world and monitors it and all those things that scientific experiments do and I think actually we should be involved in setting scientific experimental agenda one interesting experiment I'd like to suggest maybe we should create a website where poets and humanities people put ideas for experiments for scientists to do and scientists have to at least look at it and then maybe laugh and take it seriously one experiment is consciousness intentional maybe we can talk about that later I think that's a key question number three very quickly intimacy art has to be about intimacy because we've got others under our skin or rather they've got us under our skin so art has to be about you know Valtor benjamine collapsing the aura right but it also has to be about the out Eva what Derrida calls the Alpha which is my idea of what animals are you know we can't use this word animal anymore the time is rapidly approaching when the phrase the animal question should be regarded with the same horror as the phrase the Jewish Question and for exhort almost exactly the same reasons so I'm choosing to say in this new project I'm doing strange stranger which is my English slightly inadequate translation of Aluva the stranger who's intrinsically strange so uncanny so ecological art has to be uncanny right and then my final point which has to do with noir right which I'm calling dark ecology right in a noir film what's the point the point is that in a noir store the narrator discovers that she or he is the protagonist this is exactly the situation that we're in right now so ecological art has to have irony you know and a lot of ecological art doesn't a lot of ecological art kind of tries to edit irony out because it thinks of irony is the problem you know if we could like somehow to open ourselves and let all the irony come out then we'd be in touch with what this nature thing is but actually no I think there's actually some kind of ecological truth in irony and then my very very last point is that humanism in general is about hesitation you know so while the whole world is is running around quite rightly going the skies falling we've got to do something now now now now in a way humanism has to be saying wait slow down hold on emergency brake yeah that's our job thanks Michael Osborne well I have a PowerPoint but I think I'm going to spare you that because much of what Timothy and Carolyn has said were some of my bullet points if I were to show any of my slides it would be the final one which commemorates just about a hundred years ago the erecting of a statue to Frederick Mistral who led the fella bridge movement in southern France that was very important I think for establishing an embeddedness in place a celebration of the ox eaten language and I think that is one of the fundamental roles that poetry can play in other words of enrolling that emotion and that connectin stew place so that said I now need to ask you to think back to the time when Al Gore created the internet that was a few years before Bob arrived on this campus now we think of an inconvenient truth as being kind of the howl okay it's like Ginsberg at City Lights bookstore except it's it's our house our generation before that however as I believe Carolyn mentioned we had bill mckibben the ends of the earth published the same year that Bob came to our campus here now the book appeared at a time when science studies scholars and environmental historians such as Carolyn were increasingly uneasy with the idea that nature was something absolute and essentially separate from humans McKibben later reflected on the ends of nature and particularly its emotional core and asserted that humanity had now crossed a second significant barrier it could now alter its own genome he felt that the altering of macro nature and the mapping and impending manipulation of micro nature constituted irreversible passages to modernity they also mandated a new humility of precautionary principles and altered lifestyles they also provide brackets for the middle ground in which I work that is to say at least the middle ground that frames these musings from the individual to the global scale well how can the global and the individual be connected now we know that as the planet warms malaria is going to expand its range but when you live in Santa Barbara California it's very hard to be concerned with villages on the higher reaches of Mount Kilimanjaro and how they are experiencing malaria each year at an earlier date first we need to establish some kind of connectin Skillman djaro and the denizens of Santa Barbara so how do we do this I think first point and I throw up a PowerPoint slide there is we need to create different narratives as humanists we need new models now like the late philosopher of science on this campus Paul fire Robin let's demand a proliferation of approaches and theories in this case the target is global climate change of course as our scientific colleagues know not all these new theories or models are going to be viable but why not proliferate at this stage let's just say science is only part of the solution and we appreciate the open arms and hands of scientists inviting us humanists into their camp humans are squirrely it's it's very hard to treat humans in the same way that you might plug in a global data on global climate change to save Planck's constant or something like that something like that the physical sciences also we must admit have little to say about the psychic tear that that Timothy has has talked about how do you deal with the psychic trauma of the passing of polar bears in my case the loss of alpine sports in short how can the physical sciences help us cope with the loss of our generations golden age next point we need to create as humanists different attachments and feelings to place knowledge is situated and humanists can point to the situatedness Larry Buell's and Robert Watson's elegant eco critiques and I'll include Tim in that as well their analyses are one ways to engage the situatedness understanding climate change requires also acknowledging its specificity it's a special situation no one living on this globe has encountered it before now if humanists can enhance the public's feeling of connectives to the specificity of this situation we may just all pull out of this mess or pickle together we need to do so by reviewing our activities of course in short we need the public to claim ownership of global climate change and many humanists are now doing just that and doing what they can to establish this connectives one of Bob houses projects that of having children construct art inspired by watersheds near where they live is one way to foster the sort of ownership and really this may lead I hope to ecologically minded stewardship that Carolyn touched on and maybe a greening of what Hamas would call life world's we as humanists need to link the human scale and the lived world to this translocation align the distant thing what about humanistic methods our narratives poetry art and music confer meaning on things how can we expand our repertoire we need to try to render the human faces of a world undergoing climate change why you ask it's all it's apparent because we are cooked without a substantial buy-in from most of the planet if James Hansen is right we are at least parboiled anyway even with immediate action on greenhouse gases now so we know the stakes are planed painfully high possibly it's my own situatedness and arrogance but I see us as fighting to extend the window of life on our planet or at least biodiversity as our generation knew it and I specifically put that in the past tense as we knew it now I'm still searching for how to connect the global with individual actions now there's also a related problem here not unlike what one encounters in ecology and that is the problem of the shifting baseline syndrome the way that this works out for me in humanistic investigation is that we in our lifetimes what we take as normal is socially constructed and will it will most certainly be viewed as an artifact by future generations let's get back to this problem of scale how can humanists expand the circle then of people who feel connected with global climate change now many of us in the West know that the collective our collective carbon footprints are large part of the problem and even today the wealthy can buy an iPad to measure in real time their carbon footprint many of you are also familiar with the Manalo observatory chart showing the progression of co2 in the atmosphere now global change I think we must realize an attack this results from our consumer habits the way we produce foods and goods but especially of course from our thirst for the commodity of energy this is something we can change but watch out humanists and here I'd show another slide when commodities changed shift when commodity chains chains excuse me shift that's when the humanists need to be deployed so watch out for that global climate change will most certainly scramble and revalue commodity chains as we know them with shrinking snow fields and fewer glaciers in the Sierra California won't likely won't have enough water for its people I think the connection to the global needs to be made through the regional level of human life worlds such as watersheds another slide geographers actually have a tool for treating this level of scale it's called core ology but ecology is not used much on my campus which is caught up in geographical information systems in spatial science it's kind of obscured humans from the problem of geography Corolla G as I use it is something between a science and an art it reinsert Schumann's into the landscape by presenting places and regions from a distinct point of view the Corolla gist adopts the role of the subjective storyteller and that is good humanistic methodology and she takes seriously that charge by balancing the universal with the particularity zuv the human scale it's a method really for assigning value to localities and for addressing values and attachments in this it goes some way toward softening the boundaries that Timothy spoke about in in thinking about this clue a little in a sort of a longer time frame it in some ways softens the boundaries between Martin Buber zall old problem of the iron and thou in this case it's humans in nature now the knowledge ecology and this kind of thinking produces is not aimed at being universal after the fashion of physical laws it is overtly situated and embraces the power of narrative see some more slides there we have Mistral statue being dedicated let me conclude some years ago the microbiologist and environmentalist Rene DuBose spoke on this campus he spoke of a genius of place a special genius made up of physical biological social and historical forces more recently Pierre Nora and others have tried to sort out how place in memory intertwine there may be something there to frame our humanistic agenda for the future but I'm still searching for a way to mobilize action to mitigate the effects of global climate change how do we as humanists mobilize people to feel like they are part of the problem now whatever happens I hope that a century from now there will be another conference here and global climate change will be seen as a common threat that causes the fractious world of the early 21st century to pull together professor Osborne is very kindly agreed in congressional style deceived me his last few minutes of his time because I had a slightly thought we had slightly more time than we do this this afternoon so I just want to launch in on a couple of points first of all I want to talk about what I've been doing and what I am doing now and why it seemed to me worth doing we're in a peculiar situation where somehow this great field of cultural studies in humanity seems to be drifting over toward horticultural studies I don't know if anyone could have predicted this would happen maybe someone up here at Berkeley could have looked at some differences in the tenor of the Vietnam War protests and the somewhat cuddlier environmentalism of the 1970s and predicted some kind of a shift from power and violence to flowering violence but I don't know what I've been doing is trying to push some of this activity back into the earlier periods back particularly into the Renaissance I'm proud to be part of this but I'm not completely comfortable maybe it's partly because to pick up on what Nancy was saying that when I hear the words morally imperative I reach for my library card I get a little bit uneasy with what I nonetheless acknowledge is absolutely the most Fortin mission that we all have to conquer you go to the Batcave get your cap and gown and hope you can somehow bring this under some kind of intellectual control can put some footnotes on to that scream that somehow give it an articulation that perhaps ends up curing some of the pain the color spectrum in which green and red stand opposed to each other I think it's been noted may say more about the relationship between environmentalism and a lot of other progressive agendas then the fact that they share the left side of some spectra so I wanted to ask first of all a few devil's advocate kinds of questions is scarcity as environmentalists warned a crucial objective fact about the natural environment or is it from a Marxist perspective itself something we manufacture to produce value to permit control another question is eco criticism or newest taurus ism for that matter mostly an effort by liberal academics to assuage their student your conscience --is and their current radical students about their retreat into aesthetics their detached professionalism by forcing literary criticism into some kind of scarole hybrid with social activism is environmentalism itself a kind of elitist discourse not obviously relevant to the needs of most city dwellers misguidedly paternalistic toward rural populations who are directly dependent on hunting and logging and mining and structurally unjust to technologically underdeveloped societies which consume relatively little and yet are being asked to bear the burden of preserving outpost of wilderness for the pastoral contemplation and escape of a patronizing Western aristocracy to push the questioning another step further is equal criticism the latest resort of identity politics in the Academy a way for those excluded by the usual categories from claiming victim status to do so by either identifying with an oppressed wilderness in part or in whole or else by imagining their own suffering and extinction in that anticipated ecological catastrophe is sentimentality toward nature different from other kinds of sentimentality is it an effort to have religion without coming to terms with religion see irrational and authoritarian demands an effort to find some alternative locus for the sacred in an increasingly secular culture a kind of low common denominator for our common experience of creation and is attempting to speak for animals or trees for that matter a progressive or an appropriative action it's a question Shakespeare explores I think in as you like it does it resemble in other words other efforts in cultural studies to give voice to those who have not been empowered to speak for themselves or is that parallel that I've just been proposing it's self offensive since it implies it echoes pernicious rhetoric associating a human underclass with other so-called lower forms of life and encourages us to leap beyond issues of social justice that haven't really yet been effectively addressed and one more question are you all ready to throw me out now because obviously these are troubling questions in that we can't let ourselves be crippled by them from moving forward on things which is all the panelists I think I've rightly said are extraordinarily urgent in fact when I made some of these points in my last book some reviewers complained that I should have been saying instead stop global warming ban strip mining down with Exxon instead of indulging myself in renaissance epistemology well it's fine to say those things I say them many times myself but there is room for another kind of intervention and I think that's why a lot of us are here today one that's intellectually honest about the contradictions in some of the environmentalists movements not only for some inherent value in scholarship itself but also for the sake of freeing this movement of some entanglements arising from contingencies of cultural history what I was trying to do with that book discount flyers outside on the table was to argue that we need to recognize Renaissance early modern origins of our association of loving nature with simply perceiving simple reality if we're ever going to recognize that there's something arbitrary and destructive about that at its broadest level what I was trying to argue is that lots of events post butyl economics the Protestant Reformation and peeresses technologies rediscovered classical skepticism all these things combined to impose a tantalizing recognition on Western culture that human beings never quite have a grasp on reality never know things in and as themselves this provoked a nostalgic view of nature as a resource of simple truths and direct experience maybe having something to do with the idea of Eden a view deeply contemplated by artists in the 17th century and deeply consequential for environmental movements in the 21st I'm going to skip over some things here for the sake of time but I think it's important to recognize I mean people say well they didn't really care about epistemology they cared about eating they cared about not getting sick yes fine so they tried to fight off crop pests so they they try to avoid pestilences but the problem now is that we overuse antibiotics we overuse pesticides why can't we stop their economic technical reasons but I think there are also philosophical cultural assumptions behind that having to do with the nature of our dominion over nature and if we can historic an take some distance of those things from the use of culture then I think we have a very good chance of addressing them in ways that given the entrenched sides of the argument ideologically politically economically may not otherwise be tractable so making nature and antidote for the complexity of our cognitive human systems entails a denial of the indispensable complexity of nature and agreeing here with Professor Osborn teaching human beings to accept complexity which I believe anyway is a central mission of humanistic education may be an indispensable step toward recognizing the depth of our injured interdependence in all the ecosystems we inhabit otherwise we may just end up with our moral certitude and our slogans while everyone else gets out their bulldozers and antibacterial soap in other words unconvinced I'm not convinced that monoculture is any better for environmentalism than it is for the environment we need as you just said to proliferate we need to understand the past deeply in order to understand the roots of our current problems and that's what I was attempting in the last book we also need the past to offer a different way of looking and that's what I'm trying to work on now so that our destructive present assumptions don't stay dangerously entrenched and that's what I'm working on with Shakespeare's Midsummer Night's Dream Renaissance humanists already knew that this work that you could study literature largely because it allows you to take some distance on the assumptions of your own society and apply the lost wisdom of the past to some seemingly intractable problems of the present it's just too easy as cultural studies often does just to condemn previous societies as unenlightened these rediscovered worlds offer a storehouse of alternative perspectives just like you know toward seeds up in Norway someplace inoculated though in this case against the prediction 'el predictable reactionary reflexes of general cultural conservatism by their high cultural prestige as well as they're durable beauty and capable of being renewed by the knowledge and in the vocabulary that a new era makes available a Shakespeare play in other words can provide a way to get into our heads something that's otherwise very hard to get our heads around in this case the fact that our insularity as individuals and as a species is as that great mind bender Einstein warned a destructive illusion and this seems to me a very interesting consensus really on a lot of things I've been hearing from the panel that a lot of us think we need to stop thinking about nature as something out there and recognize the way that we are inter populated with it that's what I suddenly started seeing with Midsummer Night's Dream human beings have long felt besieged by an adversarial nature and a fought to push back the wilderness and the medieval reading of Genesis which urged humanity to subjugate the planet which professor Michelle was talking about which came up also in terms of the sort of Pinchot versus Muir controversy that has long been an agenda that is I think begun to recede the possibility that nature is not our enemy is much more clear to people unfortunately simultaneously with that if you look in the cultural history is a story in which I think the arch-villain maybe Descartes casting all non-human life as merely mechanical and giving humanity a sense that we as a group and as individuals are define ibly and experientially separate from the rest of creation equating human identity with self-consciousness and humanity with reason didn't leave much space for any biologically alert ecologically helpful updating of earlier views of human beings as like other creatures radii of some shared divine plenitude the increased valuation of humans as individuals which is an old scholarly commonplace since Burkhart and an increasing reliance on personal subjective interior tea which was intensified by the Protestant Reformation produced a determination to see our surrounding nature as the not meat so does the entire project of Baconian empiricism in science it tries to view nature objectively I would say colonial II with aspirations toward Dominion as long as these Baconian aspirations and Cartesian definitions are in place the natural environment is going to be under a multiple front attack and any gains from the recognition that nature may be our friend may be neutralized by an ever-increasing sense under the spell of industrial technology that we exist and identify ourselves by the way we are not nature so sometimes you need to go back in order to go forward in the advancement of learning and that's the first passage on this sheet Francis Bacon found hidden wisdom already back in Paracelsus the belief that man was micro cosmos an abstract a model of the world nourished by all the other animals and taking them into himself that the body of man of all other things is the most compounded mass I'm comparing that with a biologist recent analysis of the human animal in this year's American scientist each of us harbors since number two on the sheet approximately 10 bacterial cells for every one of our eukaryotic cells although we are strictly speaking you carry otic organisms we might more accurately be described as a series of linked in dead sleep populated ecosystems each a rich mixture of interacting eukaryotic bacterial and archaeal cells over the past decade we've been discovering how vital it is to us that these bacterial communities really are for a long time microbiology has only known that a tiny bias sliver of macro by or microbial micro microbial diversity could be cultured in the lab as a result we could guess but never really know what was out there what I'm trying to do actually at the moment is ask that we consider Midsummer Night's Dream as a kind of prescient allegory of these facts with the helpful if usually invisible fairies in the role of microbes with the emphasis of progressive politics shifting from issues of racial equality to issues of Environmental Protection's I think we see here that song that song we were condemning we are the world needs to be taken in a new way we need to recognize with bacon with Paracelsus that in a way we are worlds and that their world inside of us the key to developing an individual and collective selflessness necessary to avoid an ecological catastrophe may be the recognition that we're all already largely selfless and I bring Gandhi in here the entire British Empire could not shut Gandhi up but the five minute sign does so I will move onward like most radical cultural changes this recognition will not come easily because cultures are inherently defensive but like other changes I think it has a better chance if we can find in it already present in our esteemed cultural past and communicated by those indirect means of art as just some nice little story about lovers and magic in the forest on a summer night the best past for 21st century environmentalism can be illuminated at least by a 16th century comedy Shakespeare may have been present at the invention of the human but I think Harold Bloom is mistaken in saying that Shakespeare is the inventor I see Shakespeare is more like a very skeptical patent officer saying is this invention really new unique and independently functional a whole generation of literary scholarship has been invested heavily in refuting the idea that the self is free and autonomous a unified human individual in full possession of volition unique interior t and all that and the refutations are based usually on the work of Michele Foucault emphasizing the unconscious dependence of persons on powers much larger than themselves epistemic vocabularies that dictate patterns of thought structures of political authority that dictates subject positions the powers that be it is said are what we are my argument here is that the same refutation can be conducted maybe even more compellingly certainly for environmental causes more usefully by recognizing the way that our illusionary boundaries of selfhood are overrun and interpenetrated as well as interpolated by entities much smaller and weaker may be seeming than ourselves this change may oddly rehabilitate a lot of old scholarship long since described as outworn and may be regressive CS Lewis's discarded image EMW till yurts chain of being which we can revisit as images of how in fact an ecosystem may be understood with each element connected to the ones above at least or below it may be discarding the verticality but recognizing that we reject those networks at our peril that we imagine our individuality at our peril this lesson could hardly be addressed more directly or more vividly than Shakespeare does in Macbeth where those who violate by seeking to dominate the generative cycles of nature are punished by being excluded from those sight those cycles allegories of the psyche like the fairy queen may be recuperated as something more than a quaint literary device Elizabethan culture understood human beings as inhabited and controlled by forces meaningfully alien to their conscious personal will the theory of the humors of human psychology and physiology in Shakespeare's time meant that the external elements of air and heat and water were also the internal elements of our psyche and that they affected each other and in fact it was an understanding at the time that climate change mattered that where you were born and this has been dismissed in some ways that rejected because of anxieties about the way it can be used for social Darwinism in fact to reinforce racism but the recognition that people in different climates were different people because of the environmental influences upon the heat and the moisture of their bodies in fact there was a recognition that the natural renewal of life could be upset by a change of only a few degrees which would affect the ratio of male and female births Shakespeare's characters are neither insulin or unitary not only because there are threads in a dramatic fabric rather than actual persons as is commonly argued but also because actual persons are neither insulin or unitary when Hamlet apologizes to Laertes and says that wasn't really Hamlet who did it that was my madness my melancholy he's saying something I think important for us still to think about to recognize that these passions were understood much as modern microbiology understands pathogens we need only recall ya-gaus' definition of jealousy as the green-eyed monster that doth Mock the meat it feeds on leaving a fellow so eaten up with passion that his very identity dissolves the passionate cell door in the passionate man Renaissance scholars understood was kind of a cell hijacked by a virus for Midsummer Night's Dream what Shakespeare does is draw on useful literature from his distant past particularly Ovid's metamorphoses the great wrecking ball shattering Western cultures partitions between the human and the other forms of life alongside that explicit transformation of bottom into an ass characters are constantly figuratively being pushed across those cherished boundaries now I'm not saying Shakespeare knew all this stuff all this microbiology and more than he'd read 1960s feminism when he wrote the first scene of Midsummer Night scream or Freud when he wrote Hamlet or Marx when he wrote Merchant of Venice but he knew that he didn't know it he saw that the world occurs in orders of scale and fractal symmetries which he manages often to reproduce as with the concentric circles of Midsummer Night's Dream he knew there were mysteries ordering mysteries beyond what somebody like the character here of the rationalist Duke Theseus saw that he thought he could shut the proud human doors against at the end of the play that there exists a world out there of mostly tiny or invisible creatures which while we blunder along proudly sort out our mating and our feeding patch our wounds help us sleep in wake and continually help us fight off the demon death domesticated livestock present on a difficult conundrum for Deep Ecology advocate since these animals and species in rare cases would be able to survive liberation into the wild the idea of a perfect liberation of nature from humanity is no more realistic than the idea of a perfect humanity liberated from nature and there's a wonderful scene which I just stuck on to the sheet here where Duke Theseus is wrestling with one of the key instances of this namely the dog the hunting dog integrated with humanity and Hippolyta in passage 4 is talking about being with Hercules and Cadmus long ago well Hercules was a demigod Cadmus was a man transformed in a serpent again the play is constantly pushing you in and out of all the edges of being human and even in the poetics of this passage when you listen to it hip hollowed in the second line about how they bathed the bear and then going on just having every region near seeming all one Mutual cry so musically discord such sweet thunder and when Theseus replies about the hounds sweeping away the morning dew crook need and dewlap like the salient Bulls slow in pursuit but matched in mouths like bells each under each we're hearing in the slant rhyme from the Bulls to the bells a progression from the animal aspect of humanity to its aesthetic verifications in this passage the bay is part of the bear the dog sweeping the dus off the grasses with the dew laps that they share with a dewlap old woman that puck talks about earlier in the play crosses the boundary and they share that do also with the Bulls and the entire passage builds to a crescendo of an entire ecosystem in which everything is a mutual cry echoes in conjunction a vast discordia concourse a sweet thunder of all the scares of scales of nature each under each evolutionary biologist now will tell us that you see evidence of the common ancestry of all living things through the presence of those shared DNA sequences in the genomes of animals and plants that Professor Morton was talking about but it was also understood in Shakespeare's time that this was a common legacy within human beings that we each have a vegetative soul shared with plants and animals a sensible soul shared with animals and so on that that understanding informs Midsummer Night's Dream all the way through I'll now let a Wilson speak for himself on your sheet and maybe even five hundred years earlier cornelius agrippa but there were all these recognitions over history of ways that there are things aspects of life we don't quite understand that we need to depend on we need to recognize and we need to honor because they talk about what's unseen but what's unseen is not necessarily unreal some snakes can see infrared some insects see ultraviolet and the not us is not necessarily the enemy of us pride may be as it was commonly deemed in Renaissance theology the deadliest sin it stands still looking like an inflammatory disorder mistakenly attacking essential elements and functions of our own bodies in fact there's increasing evidence that excessive cleanliness may be contributing to autoimmune diseases like asthma and diabetes among children as well as to the emergence of untreatable infections the plays conclusion seems to me to set up to encourage us rather than serving our inner Theseus when we wipe the kitchen counters and close our houses at night simply to let pucks broom sweep the dust behind the door so let me close with the biologist summary number eight on your sheet about how our ecological sensibilities seem to stop at the edge of the visible and that what we need is a new take on the world of the unseen one that acknowledges the vital and subtle relationships that all plants and animals have with microorganisms without the microbial world worlds that accompany us human life would not exist we should honor these relationships as in the Renaissance theology of grace so in the biology of earthly life the porous self may not be impoverished but enriched Shakespeare shows us why I in unexpected and I think therefore all the more effective ways thank you so this is where we turn to the part of the program where the panelists talk among themselves does anybody have a point of entry eventually would be that Robert you reminded me some how-to to talk about in a way what I'm seeing here the big the big picture which is the long history of what Freud calls the humiliations that have happened to human-being nasarah curse right you know that we're not actually the center of the universe this would be where I think it might be hard to think ourselves back to a sort of microcosmic thought that exists before that next humiliation would be I know for some for some people Marx right you know that the economy is autonomous from what you think about it so every time you buy a Snickers bar that Snickers bar participates in commodity fetishism whether you like that or not right and then Freud of course who says the same thing with the unconscious you know never mentioned the unconscious gets you into a lot of trouble and in some way the environment is like that too when you talk about the environment it's like talking about the unconscious it's it's not so much about talking about rude stuff and you know where does your toilet waste go you know that that's difficult about it it's about it's it's it's that when you talk about the environment it stops being that thing over there and it becomes this frontal thing so there's no background foreground anymore and so I think ecology what I'm calling the ecological thought which is this thing that kind of creeps up on us from the future when storm out there is one of these humiliations and that you know I'm trying to think of a way that that art can can do this through thinking about weakness and lowliness you know sort of lowly worm theory you know without without without saying that this loneliness has to be about cowering to Authority because that's the problem with nature sometimes is that it's set up as a kind of Authority authoritarian thing that you just cannot possibly question or doubt yeah I have a question for the other panelists who have presented us with some incredibly wonderful and profound ideas about their aspects of the humanities but what I want to know is how can the humanities help the hurricane victims and if you are acknowledging that global warming has something to do with the intensity and frequency of hurricanes in low-lying areas that can easily be flooded and people's homes and lives can be devastated is the Midsummer Night's Dream not a Midsummer Night's nightmare and is depression and acknowledging depression and humiliation going to go very far to uplift the depression of the of the victims and does the history of environmentalism or the history environmental history itself Michael help us in some way to get a handle on how we can deal with the present and the issues that are facing people and will continue to move forward in a crescendo that we've only seen the tip of at this point well every time I've heard Carolyn speak over there are few years together here in and you see I learned something new but let me come in on this as being I guess one of the two environmental historians that were conscripted for this this event Carolyn mentioned something where she spoke about the tragedy of Commons which was a is a famous essay some of you may know that was authored by a professor at UC Santa Barbara years ago I would have to say that we should some of us are trying to rethink this and Carolyn has been in the forefront of that we don't deny that there are germs in the world we don't deny that there are material constraints what can the humanities do to help the folks in Katrina well one of the things is that it's a tragedy of the Commons but could it could it could such a tragedy be avoided if we had a managed column else and and that is I think the key thing here in sorting through how we manage the Commons it takes scientists it takes engineers it takes humanists so that that's one thing that the managed Commons and I don't I'm not a techno fix kind of person but I think we need to to think about what that that means secondly in terms of helping people that were affected by Katrina was my pleasure to be at the Camargo Foundation in South France two Falls ago and we hosted a group of people that were as eight to place displaced artists actually from Katrina and there was an institute that that actually did that with a second group of people that were trying to express through their art what what had happened to them and and for most people all of their paintings and actually mixed-media is what they were working on was a loss so there are some efforts but I think Carolyn once again has put her finger on something here that you know a theory if it's not grounded is not going to help us much well I afraid if we're going to stay on schedule we have to end there we need a take Carolyn and Tim and Michael and Robert and we have to thank Dan for making this happen it would you have out you

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Keywords: climate, change, culture, sustain, planet

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Length: 86min 54sec (5214 seconds)

Published: Thu Jan 29 2009