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Within the former German-Soviet Environmental Agreement in the years 1989-1991 3 biological expeditions to the Taymyr peninsula in northernmost Siberia were performed. They laid the ground for the establishment (1993) of the Great Arctic Reserve (Zapovednik). The Taymyr peninsula is covered by the most extensive and northernmost tundra habitats in Siberia. These enormous wetlands are used during the short Arctic summer by millions of waterbirds, which winter in Southern Europe, Southern Asia and Africa. The biodiversity of the Taymyr peninsula is with 20% well covered with different kinds of protected areas. However, there may be need to connect them by South-North corridors to secure adaptation of biodiversity moving North with climate change. With increased warming and thawing of tundra massive release of methane stored in the ground could trigger further climate change.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Peter Prokosch
Living spaces-environmental studies
Skye is a self described "country girl" from Oregon, USA. She moved to London to study playwrighting.
Model: Michael Donaruma (Personal Trainer)
Advertising campaign for Midway Fitness in Rehoboth Beach, Delaware.
Environmental Disaster.
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What is environmental art?
Before we can answer this (if we can) the question must be divided into two questions:
1) What is art? and 2) What is environment?
1) What is art?
Art is a language, a means of communication.
What is communication?
Communication is listening and saying with the other. It is how life survives.
What does art communicate?
Art is language that interrogates language. When languages stagnate - when survival is threatened - art communicates the threat in a way that offers a solution.
How does language stagnate and how does this threaten survival?
A language stagnates when that which is written or spoken in the language becomes merely an ordering of things; at which point each iteration becomes an order as such, and not a means of communication - where none are actually listening or saying, and evolution ceases.
Communication is an ethical transaction in which each one must justify its saying in this moment and in the presence of a listening other. A language stagnates when all writing and all saying has been reduced to an ‘It is Written!’ or an ‘It is Said!’. (This could be thought of as a kind of fascism of the word.)
But where and how is such a catastrophe occurring?
It is happening right here in the lines of this text. Each of these words is the ideal object in which a rich variety of awkwardness is compressed. Each could be interrogated back into its roots, and beyond, into the very structure of things - by which I mean that we could stop here and now, in this moment, and listen in depth to what each word is actually saying. But to do such a thing would itself be counter-productive to the kind of ‘ideal survival’ that this flow of words permits.
So what’s the problem?
If art is for the re-creation of language - a necessary and continual balancing of human languages between the ordering of ideal objects as ‘knowledge’, and unknowable awkwardness of other things, then art is a fundamental human right and responsibility.
Art is the constant and ethical search for a paradigm of ‘awkward survival’; but the problem is that art itself has become the ideal object. The act of linguistic re-creation has been subsumed by the text it once sought to interrogate… art has been commodified, as 'Art!'
But surely that’s just a fact of life?
In recent centuries, in Western cultures, art has been taken out of the hands of people and is nowadays re-presented to them as 'The Art Experience!' - in which the knowing re-creation of language has been ceded to someone ‘creative’ called ‘An Artist!’
But in this move towards the power of an ‘ideal survival’, I have lost touch with the awkwardness of the Other - which would (if I could only understand it) make me what I am. Because the art of re-creating language with the Other has become objectified, the ethical search for an ‘awkward survival’ paradigm has all but ceased for the people of the West.
That the ‘ideal survival’ paradigm of Western cultures came to dominate the ethical instinct for ‘awkward survival’ of native American cultures in the 18th-19th century, was a ‘point of no return’ for the West. For these and other Indigenous cultures, things around were and are ethical symbols, imbued with the very awkwardness of the Other. But to the ‘knowing’ Western mind, spirit was and is invested in the image of an ideal - God.
And it is only now, in the aftermath of destructive colonisation, that we see the extent to which that differentiating mindset has led us towards ecological calamity and war. Those languages which enabled us to survive are no longer appropriate for our survival.
What can environmental artists do to improve our chances of survival?
What environmental artists can do, is try to help us solve the problem of this stagnant ‘ideal survival’ paradigm. Let’s face it, all artists are actually environmental artists, we all respond to the contexts in which we find ourselves. What’s required of artists and gallery directors/curators is that they have the will to move out of the so called ‘Art World’, and help the rest of us discover an ‘awkward survival’ paradigm.
How can we do this?
By looking towards that which causes the logic of ideals the most distress - which is the utmost awkwardness of quantum entanglement.
2) What is environment?
Environment is what we mean when we are surrounded by other things.
What is a thing?
A thing is an environment.
So an environment is a thing and a thing is an environment?
Yes, a thing is an awkward environment of things which has not yet be-come an ideal object (which it does when comprehended.) For example, ‘the chair is real’ is an ideal object; whereas the ‘chair is actual’ is an awkward environment of environmental things, extending in all directions to the edges of the universe thing and beyond.
What is quantum entanglement and what has it got to do with all of this?
“Quantum entanglement is the phenomenon whereby a pair of particles are generated in such a way that the individual quantum states of each are indefinite until measured, and the act of measuring one determines the result of measuring the other, even when at a [great] distance from each other.”
If we think of the pair of particles as two real objects apparently ‘separated by a vast distance of space’, then the fact that measuring the condition of one instantly determines the condition of the other is indeed very awkward for our ‘ideal survival’ paradigm - paradoxical in fact. But if we think of the pair of particles and the person doing the measuring as actually being one thing - an environment of environments - a constituent of a universe of infinitely overlapping environments, then the awkwardness is gone and the quantum paradox resolved.
This seems to suggest that space is not real?
On the contrary, space and time - and every ideal object in space and time - are real. It’s just that reality is not the actual state of things.
What is the actual state of things?
In comprehending, we simplify infinitely complex environments into the different ideal objects that we see around us. This comprehending is the be-coming of reality; and it’s not until a fundamental paradox arises in reality, that our way of comprehending is thrown into question.
In comprehending, we grasp together that which is apparently different - we differentiate between ourselves and the other objects which exist around us ‘in space and time’. But quantum entanglement seems to imply that this ‘differentiated reality’ is simply our way of comprehending things, and that our actual state (of which reality is but a condition) is singularity.
A singularity of what?
If our condition of reality means that we comprehend different objects in time and space, then that suggests that our state of actuality must be a state prior to difference - and of which difference is a limited condition. Such a state is understanding. Understanding is the actual state of difference. Difference is the real condition of understanding.
Understanding is the singularity of Otherness for which each other literally stands under (under-stands) all the others. What we comprehend as ‘this reality of objects in time and space’ is merely our differentiation of the actual singularity of understanding.
How can people/environmental artists make use of these things?
We and every other thing around us are actually environments of understanding. We under-stand each other as the flux of things. Each environment as a constituent of all environments. In other words we are one.
What this means is that we constitute, and are constituted by, every other environmental thing in the universe. We are the universe - we don’t just simply live in it. We are this planet Earth - we don’t just simply live on it. We are the others that surround us - we don’t just simply live beside them.
Moment by moment, you under-stand me and I under-stand you. We are entangled environments of understanding. If it is the right and responsibility for each one of us to re-create our means of communicating - our languages - then, on the basis of our unity with all other things, that is exactly what we must strive to disclose. We must learn to speak more slowly, thoughtfully, symbolically.
We are the things that appear to surround us and they us. How people/environmental artists make use of that knowledge would depend on the situations in which they find themselves. Nevertheless, by re-creating the other do we re-create ourself, or by harming the other do we harm ourself.
Stan Bonnar
31st July 2021
Original Caption: These Point Shirley Homes on Wintrop Shore Drive Are in Landing Pattern for Logan Airport's Runway 27 10/1973
U.S. National Archives’ Local Identifier: 412-DA-5982
Photographer: Manheim, Michael Philip, 1940-
Subjects:
East Boston (Boston, Suffolk county, Massachusetts, United States) neighborhood
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: research.archives.gov/description/548469
For more information about DOCUMERICA photographs at the U.S. National Archives, visit:
www.archives.gov/research/arc/topics/environment/documeri...
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the U.S. National Archives’ Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html.
Reproductions may be ordered via an independent vendor. The U.S. National Archives maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html.
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Original Caption: El Paso's Second Ward, a Chicano Neighborhood, 07/1972
U.S. National Archives’ Local Identifier: 412-DA-2834
Photographer: Lyon, Danny, 1942-
Subjects:
El Paso (El Paso county, Texas, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/545327
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
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EXPLORED ON 03 MAY 2009 - # 288
How wonderful nature is, with the concept of synergy between the eco-system. While the critter is after the Honey in the flowers, the Flowers use the butterfly as a vehicle for pollination, and thus ensures its own survival. A win-win situation for both.
Similarly must we aim to create synergies with our own eco-system that is happy to provide for us. Rather than just take away from the environment, a little effort to also give back something to it, to ensure its continuous survival, is not just a way of saying gratitude, but may also be our duty.
What do you think?
Photograph © Kausthub Desikachar
Photographed with Canon EOS 5D Mark II, and Canon EF 100mm F2.8 USM Macro Lens. Handheld.
Please do not reproduce in any form without prior written consent from the copyright holder. Please contact the photographer through Flickrmail, to inquire about licensing arrangements.
Environmental activists gathered outside Mitsubishi UFJ Financial Group offices in New York City on September 1, 2020 to protest the company's participation in the destruction of the Amazon rainforest, as part of a week of action against climate change. Activists dove into the privately owned public fountain in front of MUFG Bank's New York headquarters with inflatable trees on "fire" and an 18 foot banner that read "MUFG Stop Burning Rainforest", to expose their bankrolling of climate change. (Photo by Erik McGregor)
Original Caption: Southwest Washington, D.C. With South End Of L'Enfant Plaza In Foreground, Southwest Freeway, Department Of Agriculture And Washington Monument Beyond, April 1973
U.S. National Archives’ Local Identifier: 412-DA-4741
Photographer: Swanson, Dick
Subjects:
Environmental protection
Natural resources
Pollution
Washington (Washington (D.C.)) inhabited place
Project DOCUMERICA
Persistent URL: research.archives.gov/description/547228
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
I often justify this or that situation using the immensity of popular sayings that are sufficiently comprehensive and diversified so that, with only these , we maintain a medium content conversation. " We reap what we sow " seems to me to be the most suited to the crisis that I wanted to see represented in this image . Its a saying that I particularly like and try to take into account every day regarding my habits and attitudes .
Be ecological is today seen as one of the supreme state of evolution and can not sympathize with social fads or with momentary companies advertisements.
Despite I am absolutely in favor of the difference regarding to behaviors and opinions and believe in a profound way that only in that way we can evolve as a species, I also believe that there are certain values that do not give room for such differences. This image represents one of those realities .
By my life experience I can say that we fight harder for a greater cause when we are properly conducted and when we feel the support of a cohesive group. The crisis we are experiencing at an environmental level has a worthy adversary. What to do when the green colour of money fight against the green of nature? The group's capital is much more united and its strongly motivated. If we can not destroy it by the groups fight we have to try it in a individually level through a very small set of steps that everyone can take daily in terms of habits and consumption. Let us try to do it a certain way so that our children do not reap what we are planting .
Thanks for viewing one more image from the project THE CRISIS
Be safe...
Sérgio Moreira
Environmental portraits are an important key aspect in travel photography as it gives the viewer a "spirit of the place."
Taken at the Ensenada Fish Market in Baja, Mexico.
Text and photo copyright by ©Sam Antonio Photography
Environmental Portrait of a salesman at the Cambridge Market Square. This was a photography task to capture someone doing their job.
Flash info: Bare flash gun fired from the left side of the subject.
The Sandhill Cranes were the first audience members for today's announcement at Valle de Oro National Wildlife Refuge, and they wholeheartedly approve. The U.S. Environmental Protection Agency (EPA) Region 6 recognized several groups for their innovative work in environmental justice (EJ). The plan is the first environmental justice strategic plan for a public land site, and aims to serve as a model for other urban public lands.
The plan was developed by Los Jardines Institute, Coming Clean, and Friends of Valle de Oro National Wildlife Refuge using a grant from EPA, as well as a grant from the U.S. Fish and Wildlife Service. The groups worked with the Mountain View Neighborhood Association to develop a plan to integrate the needs and mission of the refuge with those of the community. By using surveys and research the groups learned of the community’s environmental concerns, such as stormwater management and water quality, and developed the plan to incorporate those concerns into the development and management of the refuge.
The work supports the EJ 2020 Action Agenda, which is EPA’s five-year plan for achieving environmental justice goals. EJ 2020, focuses attention on environmental and public health issues and challenges facing the nation’s minority, low-income, tribal and indigenous populations.
Learn more about EJ 2020: bit.ly/2g707aZ
Credit Jessie Jobs/USFWS
Class 2 - Individual Portfolios - Winner PO Ethell.
The Royal Navy Photographer of the Year 2017 Winner. Awarded to the best portfolio of four photographs of Service-related subjects submitted by an individual.
Pictured is a Merlin Mk3 helicopter of 845 Naval Air Squadron (NAS) conducting mountain flying and snow landings from Bardufoss during Exercise Clockwork.
Based at Royal Naval Air Station (RNAS) Yeovilton, Somerset, 845 NAS part of Commando Helicopter Force (CHF) have deployed to Norway to conduct essential Arctic environmental qualification training for both Aircrew and Engineers.
March 2, 2017.
Image cleared by Lt Cdr Vaughan, 845 NAS.
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© Crown Copyright 2017
Photographer: PO(Phot) Si Ethell
Image CH170006680.jpg from www.defenceimages.mod.uk
Licensed for use under the terms and conditions of the Open Government Licence: www.nationalarchives.gov.uk/doc/open-government-licence/v...
A waterfall drops down into a small river flows in a forest near Varzob, which is about 25km from the capital city Dushanbe. Photo taken on June 01, 2014.
Environmental Defense at Herdade das Templarias
Protecting the environment — on land, in the air, and in the water — is our uncompromising, unwavering, and non-negotiable mission.
It is not just what we do; it is who we are,
cause we are !
📍 Herdade das Templarias
📷 Campaign partner TELENIMA
These little girls have been chosen by their teachers as health and mosquito monitors. They were chosen for their especially caring and kind natures and it is their job to make sure each of their classmates is safe and healthy from the threats of zika and dengue.
Credits: Joshua E. Cogan.
Environmental sustainability means protecting the future by making the right choices, in a world where natural resources are constrained, biodiversity is declining, and where climate change may exacerbate these challenges. It also means delighting consumers, and living up to the expectations of our employees and external stakeholders about our environmental responsibility and practices.
Some historic former manufacturing plants have a dark side, as these environmental monitoring wells at the former John Lucas/Sherwin-Williams Paint Works plant site show. The area is an EPA Superfund site.
Environmental pollution is considered the most important threat to human being and other creature lives. Every day at different places, thousands of various types of pollutants and chemicals from different sources are exposed to the environment.