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 I am very interested in all these discussions as I am a trainee art and design teacher in a SE London secondary school and am doing a cross curricular project with the  geography dept.

I want to engage the students with mind maps, as suggested by rising tide, and then get them to start producing art...any ideas would be welcome, they are age 12-15 or so. We are limited with budget/materials, but I thought recycled things would be a good use of materials of course.?

The main battle to win, is just getting some passion or fire for the subject in their bellies...then we will be off!

Thanks for all this info-it is great-will continue to research all this great info.

many thanks

Hi Lea,

I am very interested in your blog and the issues you address and was curious to find out what kind of response you are having, my partner and I are developing a project on the environment and wanted to particpate in your blog, but we do not find any comments from anybody are we not doing the right thing? or is the world so apathetic, includinf the art world? if it is the case what can we do to help spread awareness? this exhibition has been highly publiicized....

You can check out our online presentation

www.meld.cc

Artist Andrea Polli records the sound of the poles melting and shares the soundscapes with scientists and the public believing that the sounds will make the effects of climate change more of an urgent and present problem in peoples minds. She believes that the direct communication can create empathy within people and make them understand the necessity of acting fast. People need to get an intimate experience with the poles and the melting ice to understand the complexity of climate change.

“In conclusion, because of the complexity of the information and the misinformation in mainstream media, there is a need for more direct public communication of weather and climate science.   Sound offers a way for scientists to bring their messages directly to the public, by speaking to the public through recordings, web and radio transmissions and by collaborating on audification and sonification of scientific data.  Listeners often respond to sound with emotion and empathy for the scientists’ messages.” (Polli).

Is the problem that the climate change problems crosses borders, that perceivable
changes happen to far away from our social lives, that we don’t see, hear or feel them? And can art projects such as Polli’s help people move closer to and realize the seriousness of climate change?

Read Andrea Polli's article: Listening to the Poles.
 

Artist Franke James gives on her blog a recipe with six tools you need to make climate change art, and how to make a workshop to fulfill these tools. In continuation of the discussion about what good climate art is, I think it could be relevant to discuss these 6 tools and if they are covering the most important aspects of climate art? 

I can highly recommend RSA Arts and Ecology Center's new initiative Arts for COP15 Art & Activism Copenhagen 09 to get an international overview of all the interesting cultural events connected to COP15.

"Artists the world over are engaged in productions, exhibitions and events that respond to the need to persuade world governments to take decisive action at the United Nations Climate Change Conference Copenhagen in December. If you are involved in such an event, please join <b>Arts for COP15</b> and add it to the Events calendar below. But you don't have to be producing art for COP15 - you might just want to keep up with what's going on..."

“Good climate art is art that takes on the challenge as an artistic challenge – not ‘merely’ enters the service of the climate discussion and communicates the results of science but at the same time discusses how the climate crisis challenges our culture, art and experience.” (Søren Pold)

“While it is important that artists engage with environmentalism, it is vital that the sole professional responsibility of artists is to make good art that has integrity.” Good climate art should “offer potentially enlightening experiences of being immersed and energised by our relationships to world around us.” It should have the “power of recognising who and what we have become in a given moment.” (Emma Ridgway)

“The work of artists in promoting art-science and art-technology collaboration is in a very real sense part of the tool kit for survival. This is a strong claim: artists using new media and new technologies are not creating play-things for rich people but are part of the rapid cultural engineering we need to do to face the burning issues of our times.” (Roger Malina)

These are the opinions of Søren Pold, Emma Ridgway and Roger Malina. What do you think is good climate art, and why?