Opinions and observations from environmental experts, activists, and luminaries
AGAINST THE ODDS
Some things I don’t get: lottery tickets, for instance. Any look at the odds says there is no chance of getting that payoff, but people still buy the things. It says something about the irrationality of our species. Similarly confusing to me is the climate change gamble. I know so many intelligent people that adamantly refuse to believe that humans are having an impact on the climate, in the face of essentially irrefutable evidence. Of course we are all aware of the climate denial industry, but that does not explain it.
Is it perhaps our fear of change? Or fear of loss of indulgences? And similarly, the gamble here is so great; like the future of humankind. And the ante is really so small: moderate changes in our consumption patterns.
Copenhagen talks stalled today, and it would probably be better, as James Hansen argues, if they collapsed instead of producing some ineffective fluff.
And yes, no matter how it’s sliced, the developing world will get the short straw. But oddly, in the developed world we are slipping back from commitment. George Monbiot, in the Guardian, argues that fewer people believe in climate change than two years ago.
And of course, there are still some people out there that believe the world is flat.
Is it perhaps our fear of change? Or fear of loss of indulgences? And similarly, the gamble here is so great; like the future of humankind. And the ante is really so small: moderate changes in our consumption patterns.
Copenhagen talks stalled today, and it would probably be better, as James Hansen argues, if they collapsed instead of producing some ineffective fluff.
And yes, no matter how it’s sliced, the developing world will get the short straw. But oddly, in the developed world we are slipping back from commitment. George Monbiot, in the Guardian, argues that fewer people believe in climate change than two years ago.
And of course, there are still some people out there that believe the world is flat.
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Photographer J Henry Fair is best known for his Industrial Scars series, in which he researches our world’s most egregious environmental disasters and creates images that are simultaneously stunning and horrifying. His photographs captivate audiences, as they more
...Photographer J Henry Fair is best known for his Industrial Scars series, in which he researches our world’s most egregious environmental disasters and creates images that are simultaneously stunning and horrifying. His photographs captivate audiences, as they more closely resemble abstract paintings by Georgia O’Keeffe and Jackson Pollock than the disturbing scenes of actual reality that they depict. Mr. Fair’s work has been featured in segments on The TODAY Show, CNN, FOX News, and WDR German TV, as well as in most major publications, including National Geographic, TIME, New York Magazine, Harper’s Magazine, and GQ. Additionally, Mr. Fair’s work travels around the world in fine art exhibitions at major museums, galleries, and educational institutions.
Mr. Fair has an active lecture schedule, presenting photographic symposia to audiences in the US and abroad. Recent engagements include The Collegiate School, Bloomberg, Die Spedition, and Green Mountain College, where Mr. Fair will return this fall for an artist-in-residency. He gives readers a first-hand look inside the important issues he studies, writing and blogging about art and the environment, and is a regular contributor to the Huffington Post.
J Henry Fair supports a number of environmental organizations that share his commitment to changing destructive consumer habits and effecting positive change in our environment. He is co-founder of the Wolf Conservation Center in South Salem, NY, an organization that is dedicated to the protection of and education about the world’s wolf population.
Mr. Fair’s first book, The Day After Tomorrow: Images of Our Earth in Crisis will be released Fall, 2010, published by powerHouse Books in cooperation with Random House. His work is represented exclusively in New York City and Santa Fe by Gerald Peters Gallery.
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