tag:blogger.com,1999:blog-110532052024-03-19T01:32:34.889-07:00Cli-Fi News Links Contact and Feedback: DANBLOOM@gmail.comUnknownnoreply@blogger.comBlogger86125tag:blogger.com,1999:blog-11053205.post-69352653265290097682019-04-24T01:07:00.004-07:002019-04-24T01:07:53.176-07:00PICO IYER BROUHAHA review by NYT reviewer Phillip Lopate<br />
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The attraction of Anglo-American writers to Japan as the source of an alternate way of being is a long story, going back to the 19th century (<a class="gmail-css-1g7m0tk" href="https://www.britannica.com/biography/Lafcadio-Hearn" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">Lafcadio Hearn</span></a>)...</div>
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<a class="gmail-css-1g7m0tk" href="http://picoiyerjourneys.com/index.php/about/" rel="noopener noreferrer" target="_blank" title=""><span style="color: #326891;">Pico Iyer</span></a> — globe-trotting TIME magazine journalist and travel writer — says he first fell in love with Japan when he was 26. </div>
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Born in England to Indian parents who later moved to Santa Barbara, Calif., he attended graduate school at Oxford and Harvard and then went to work for Time magazine. </div>
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On a Tokyo stopover while returning from a TIME magazine trip to Hong Kong, he was enchanted to find “a world suddenly intimate and human-scaled. … By the time I boarded my plane in early afternoon, I’d decided to leave my comfortable-seeming job in New York City and move to Japan.”</div>
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He met a Japanese woman who left her husband and moved with her two small children and the author into a tiny apartment. In Japan, he notes, people accommodate themselves to small spaces, and so he and Hiroko have for 25 years. </div>
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The book ....besides Iyer’s elegantly smooth prose style and gift for detailed observation, is a circling around the theme of autumn in Japan and this autumnal period in his own life as a man in his 60s now.</div>
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Self-described as having a restless “‘birdlike’ traveler’s temperament,” he spends half the year tending to his aging mother in California or reporting on subjects like “the warlords of Mogadishu,” but flies back to Japan each fall. </div>
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This season teaches him the lesson of impermanence, the inevitability of decay, and “how to hold on to the things we love even though we know that we and they are dying.” </div>
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Not much plot to speak in the book:</div>
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Readers can watch Iyer going through his daily rounds, dropping in on his local ping-pong table tennis club, visiting his mother-in-law in her nursing home, recalling scenes from the past. </div>
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Iyer’s wife Hiroko makes for a marvelous presence, zooming away on her motorbike to her job in a boutique, cleaning the house briskly like a tornado or dashing off to honor dead ancestors at shrines and grave sites. </div>
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Hiroko is the book’s motor, and Iyer is in awe of her energy, even as he says, a bit condescendingly: “It’s one of the qualities I most admire in her: She doesn’t stop to think” and “I have a wife who reminds me with every gesture that the only impulses to trust are the ones that arise without thought.” </div>
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Hiroko strikes me as more quick-witted than thoughtless.</div>
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His own self-portrait is dimmer. <strong>He comes across as a modest, kind, gentle man, somewhat colorless, as though trying to practice spiritual erasure of the ego.</strong> </div>
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He says he had moved to Japan “to learn how best to dissolve a sense of self within something larger and less temporary” an admirable pursuit, though problematic for autobiographical writers. </div>
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In a way, his attraction to Japan can be seen as an attempt to hold onto its exotic, eternal appeal — to his partly idealized picture of what the East has to offer an expat Asian Person of Color in the way of healing. His parents were both from India, and his complexion is not white but brown.</div>
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Now in his 60s, Iyer like trying to communicate his tentative revelations about life. There’s much wisdom in what he says, <strong>though some of it comes close to platitude.</strong> </div>
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But then, perhaps it’s the nature of hard-earned wisdom to sound like something we’ve heard many times before.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-64114791471527757602019-03-25T23:09:00.004-07:002019-03-25T23:09:54.609-07:00NEWS story ....TOYSThis is how pitching news tips to reporters sometimes works. In this case it worked, but of course it does not always work out this way.<br />
When I was pitching a news tip to a reporter in America about an issue I was involved with, I sent him this note after first spotting his name and newspaper affiliation on Twitter.<br /><br />
"I have a news tip for a possible news story by you in the February-March time frame, '' I said in my first email contact. "Is this something you can report on, or does an assignment editor have to assign it to you? How does the process work? I was thinking mid-March might be good timing and maybe you can sit in on one of the college classes with the professor I mentioned in order to get feel for how students react? Just an idea."<br />
The reporter emailed back to me and said: ''I am fascinated by the idea. I bounced it off our news outlet's New York editor and he said to 'go ahead and do it.' If you’d like to call me at my office next week, we can chat."<br />
Buoyed by his positive reactions and the positive reactions from his editor in Manhattan, I called the reporter right back from my office in Tokyo and chatted with him for half an hour.<br />
When the reporter asked for some more details, I mentioned two books worth knowing about and reading: ''Flight Behavior'' by Barbara Kingsolver and ''Odds against Tomorrow'' by Nathaniek Rich.<br />
"Nice to chat with you by phone," I said in a subsequent email. "Have fun with this story if it works for you and your editors in New York and thanks for tracking it all down."<br />
I added: "I will send you a link to Bll McKibben's 2005 essay in Grist magazine where he said: ''Hey where are the novels and movies about global warming? We need artists to explore this issue, too. Where are they?" <br />
"Well, cli-fi novels are in the pipeline now, and college students are reading them in dozens of cli-fi classes nationwide," I told the reporter in a subsequent email a week later. You can quote me on that if you want a quote.''<br />
I also suggested that the reporter speak with some people he might want to talk to for quotes, and named 12 (with their email adresses and Twitter handles) for him.<br />
Later, in early March, two months after I first contacted the reporter with my gentle, soft-spoken pitch, the reporter wrote back with an ''advisory,'' saying: <br />
''Hi Danny: Unless I get distracted by some unforeseen piece of news, I am planning to write about this issue this weekend.<br />I find you everywhere online. How and why did you get into this? And can you give me a bit of background on you?<br />If you’d like to answer here that would be fine. If you’d like to call and chat that would be ok too, but I do realize we have opposite schedules in terms of time zones on other sides of the world.''<br />
Finally, just before the article went live on the internet worldwide a few days later, the reporter sent me a quick note to say that the story was coming out that coming weekend but that he was not able to get my name or connection to the story into his article for space reasons, and that he hoped I would not be disappointed at the development over limited space in writing up the story for publication.<br />
"The story is coming out Sunday," the reporter in said. "I hope you're not disappointed, but I couldn't get you into it for reasons of space limitations. It was a fun story to research and write. I'm glad you sought me out."<br />
I replied in internet time: "Sir, no problem on not putting my name or work in the article. I prefer, in fact, to remain the shadows. You know, the role of a good PR guy is to stay in the background and let the article follow its own arc. All this was never about me, but about the real writers and academics and scientists doing the heavy lifting. I'm just the bat boy, the water boy, unseen, invisible. I love being in the background. Let the quotes from others work their magic.''<br />
''I am sure I will love yr story on Sunday," I told the reporter on the other side of the world. "I already love it. Your byline will make the story sing! I am glad Twitter brought us together by email and phone. It was great to get to know you and I am now a fan for life! I love reporters, especially those like you who know how to tell a good story. Can't wait. And thanks for letting me know the date. Sunday. I will read it on Monday here in Japan and given the reach of your newspaper with the wire, it will likely appear in print in the papers here later on. I am delighted! I couldn't have found a better byline. Storyteller par excellence. The new is in good hands.''<br />
''My name not germane to the news article. I'm just a quiet gadfly and I'm happy to promote the other people in the story. I know my place. In the shadows. But yes, fun to meet you and renew my memories of of the newspaper trade. I was very lucky to find you! Thanks again.''<br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-62995152846740569142019-03-25T23:09:00.000-07:002019-03-25T23:09:18.180-07:00Online creep causes me to lock my public blogs for now until the abuse and harassment passes#CliFi news alert: -- due to an inappropriate and confused email from an online creep re my public blogs, I've had to lock all my blogs from public view until that person withdraws their threats or apologizes. #WeirdInternet. #DifficultPeople Sorry for the disruption. #Patience<br />
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#CliFi news alert: -- due to an inappropriate and confused email from an online creep re my public blogs, I've had to lock my cli-fi blogs from public view until that person stop their unprovoked harassment and withdraws their threats. #WeirdInternet. #DifficultPeople - Sorry for the disruption. #PatienceUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-44392176999645364282019-03-25T21:59:00.003-07:002019-03-25T21:59:42.484-07:00A new literaray trend: American lawyers writing novels about climate change iissuesI've noticed an interesting literary trend in lthe ast few years where more and more lawyers and law professors are writing literary novels, thrillers, cli-fi novels and science fiction novels with climate themes. Two writers come to mind: <strong>Edward Rubin</strong>, a law professor at Vanderbilt University in Nashville, and <strong>Sam Bleichner</strong>, an adjunct professor at Georgetown Law School in Washington.<br />
Bleichner has a new novel that was repleased on April 22, titled "<span style="color: blue;">The Plot to Cool The Planet,"</span> so I asked him what he thought about this literary trend I've noticed.<br />
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"What do you think accounts for this literary trend?" I asked Bleichner, adding: "Of course, lawyers are good with language, they know how to set a table with language in a court case or an academic paper, but what else might account for this trend?"<br />
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He told me: "I agree that lawyers have the writing and storytelling skills, but I think some other important factors are involved: <br />
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(a) People who are interested in future-oriented issues hope to spread their ideas to a wider audience than just those who read footnoted non-fiction books. <br />
(b) Futuristic fiction can paint a picture of a world that might await us, expanding readers’ vision and imagination in a way that non-fiction projections of the future can’t. <br />
(c) In the climate change arena, a novel can bypass the arguments with climate deniers and “Garden of Eden” nostalgic environmentalists and present the real world as the author sees it, without proving every statement with a footnote."<br />
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I'm looking forward to reading Bleichner's cli-fi thriller.<br />
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Meanwhle, Rubin's novel, <span style="color: red;">"The Heatstroke Line,"</span> published a few years ago but still available from Sunbury Press and Amazon, <br />
was intended as a warning to us all, but it was also intended to be an entertaining read from a man who is a life-long fan of science fiction.<br />
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"This book belongs to a genre known as post-apocalyptic science fiction,'' Rubin says. "It includes a number of sci-fi classics such as 'Earth Abides,' 'A Canticle for Leibowitz,' 'The Day of the Triffids,' and 'The Road,' and some recent best-sellers like' Oryx and Crake,' 'The Wind-Up Girl,' and 'Station Eleven.'" None of these books, however, not even the recent ones, portray the disaster they envision as resulting from the real danger that we face, which is simply the increasingly temperatures. More significantly still, these works tend to use the disaster to clear away the technological and bureaucratic features of the modern world and tell an adventure story of one sort or another. In 'The Heatstroke Line,' the result of the oncoming disaster isn’t a primitive world filled with long journeys on foot and hand-to-hand combat. There are still governments, still cars and factories, and still all the mundane details of modern existence. It’s simply that life has become much worse for nearly all Americans. In other words, this is a realistic picture of what life might look like in our country if we allow global warming to continue unabated.''<br />
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"'The Heatstroke Line' is an adventure story of its own," Rubin adds. "Fiction can teach us many things, but it won’t work unless it has an engaging plot and convincing characters. In my novel, the main character is an entomologist at one of the few universities left in the former United States. He is sent to the South (below “the heatstroke line”) to investigate an outbreak of biter bugs -- vicious, flesh-eating insects that have developed as a result of the increased heat. Once there, he is taken captive, for reasons that are a mystery to him, by the frenetic, disaffected and sometimes vicious people who have clung on in this nearly uninhabitable region. The action in the book involves his efforts to survive, his plans to escape, and the mysterious young woman who he meets there. She has written a post-apocalyptic novel of her own (part of which appears in the book), filled with standard science fiction tropes. The contrast between her teenage fantasies and the “real world” that the main character encounters reveals the mystery of his capture to him and motivates the action that brings the novel to its close." <br />
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"I hope you enjoy reading my book as much as I enjoyed writing it, and I also hope that at the end of it, you feel as concerned as I do about the future of our nation and our planet," Rubin said.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-32750339479171337372019-03-25T21:28:00.002-07:002019-04-27T01:51:55.496-07:00An interview with Sam Bleicher, author of the cli-fi thriller "THE PLOT TO COOL THE PLANET" -- on sale now<br />
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<span style="font-size: 12pt;">1. <span style="color: blue;">DAN BLOOM, blogger at <a href="http://cli-fi.net/">''The Cli-Fi Report''</a>:</span> I've noticed a trend in last few years. Lawyers and law professors, you, for example, and Ed Rubin at Vanderbilt University, writing sci-fi or cli-fi thriller novels with climate themes. What do you think accounts for this literary trend? Of course, lawyers are good with language, they know how to set a table with language in a court case or academic paper, but what else might account for this trend?<b><i><span style="color: #1f497d;"> </span></i></b><span style="color: red;"><u></u><u></u></span></span></div>
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<li class="m_970359548396748984MsoListParagraph" style="color: red; margin-left: 0.25in;"><span style="font-size: 12pt;"><strong><u>SAM BLEICHER, AUTHOR</u></strong>: I agree lawyers have the writing and storytelling skills, but I think some other important factors are involved: <u></u><u></u></span></li>
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<span style="color: red; font-size: 12pt;">(a) People who are interested in future-oriented issues hope to spread their ideas to a wider audience than just those who read footnoted non-fiction books. <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">(b) Futuristic fiction can paint a picture of a world that might await us, expanding readers’ vision and imagination in a way that non-fiction projections of the future can’t. <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">(c) In the climate change arena, a novel can bypass the arguments with climate deniers and “Garden of Eden” nostalgic environmentalists and present the real world as the author sees it, without proving every statement with a footnote. </span><span style="font-size: 12pt;"><u></u><u></u></span></div>
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<u></u><span style="font-size: 12pt;">3.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span><u></u><span style="font-size: 12pt;">What's the plot of The Plot To Cool The Planet? How about a short elevator pitch, 60 seconds or so, or a longer stab at it? <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">“The Plot To Cool The Planet” begins in the year 2020 with the assassination of a charismatic climate scientist who forcefully advocates geoengineering to save humanity. Her death shocks the world. The two Canadian investigators are under pressure to find both the murderer and those behind it. The notorious murder also angers a handful of diplomats frustrated by institutional paralysis on global warming. They take matters into their own hands, organizing a rogue geoengineering experiment without international knowledge or approval. Their goal is to save their small island states, risking their own careers and lives. The project uncovers another surreptitious climate intervention, which ignites Great Power military conflict and diplomatic confrontation on global governance of geoengineering. <u></u><u></u></span></div>
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<u></u><span style="font-size: 12pt;">4.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span><u></u><span style="font-size: 12pt;">When did you first come across the new genre term of <a href="http://cli-fi.net/">cli-fi</a>, and did you know that NPR radio did a five-minute radio segment on it in April 2013? Is it a useful term for your new novel? <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">“Sci-fi” has been around forever, but I hadn’t run across the term “cli-fi” until very recently, even though I have read numerous books that fall in this category. The first climate change novel I read was Arthur Herzog’s “Heat” (1977), which I read shortly after it was published. I was a senior official at NOAA at that time, so it came to my attention. Newly available remote-sensing satellite data and quantitative computer modelling were just beginning to shape our knowledge of the real parameters of the climate change threat. <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">I do think the “cli-fi” category is useful. At this point there is more than enough novelistic material to justify a category that separates “cli-fi” from the more established robotics and space travel sci-fi literature. And there will inevitably be more in the coming decades.<u></u><u></u></span></div>
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<u></u><span style="font-size: 12pt;">5.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span><u></u><span style="font-size: 12pt;">There's a popular movie titled ''Snowpiercer'' set in the distant future that is also about a cooled planet. Did you see it or hear of it yet?<u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">No, I haven’t. From what I glean from Amazon, “Snowpiercer”, like “Watermelon Snow”, which the authors call cli-fi, only qualifies in the sense that climate conditions form the backdrop in which his story takes place. <u>“The Plot To Cool The Planet” directly focuses on the science, engineering, policy, diplomacy, and politics of geoengineering.</u> <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">A lot of my current reading is non-fiction, like ''The Uninhabitable Earth” and ''The Sixth Extinction.” I want to make sure of the science so that I can correctly articulate the science I am relying on in my novel. <u></u><u></u></span></div>
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<u></u><span style="font-size: 12pt;">6.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span><u></u><span style="font-size: 12pt;">How do you plan to promote your novel in this era of Donald Trump? Newspaper interviews, radio interviews, bookstore signings? TV interviews? Op-ed columns in newspapers? Letters to editors? College lectures? <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">By beginning in 2020, “The Plot To Cool The Planet” minimizes direct confrontation with the Trump administration (although the assassinated climate scientist has strong hostile opinions about climate deniers in and out of the government). It assumes that a Democratic Party President with a more rational perspective is elected in 2020. Nevertheless, the events in the story force him to come to grips with difficult decisions about the governance of geoengineering. <u></u><u></u></span></div>
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<span style="color: red; font-size: 12pt;">As for methods of promoting my book, aside from my teaching and family commitments, I’m happy to spend all my time promoting it every way I can, through book signings, radio and TV interviews, Newman Springs Publishing’s web page, Facebook, and Twitter (@BleicherSamA). I am writing some articles, but they are non-fiction ones about climate change. I hope my book and these columns will reinforce each other. <u></u><u></u></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-58571962622681130082019-03-25T04:26:00.002-07:002019-03-25T21:36:53.909-07:00The day Jeopardy used cli-fi as a clue on the March 20 quiz show<span style="font-size: x-large;">News alert! March 23, 2019</span><br />
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Hollywood is catching up with the popular ”cli-fi” buzzword these days, if the popular TV show “Jeopardy” is any indication.<br />
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Let me explain: On my cable TV set in Taiwan, where I can watch over 100 channels from around the world in over a dozen languages, I cannot get Jeopardy’ and to be honest I’ve never watched the program in my entire life. But I know what it is, of course, and how it is set up and who the host is: the one and only Alex Trebek, a Canadian native of Ukrainian heritage who now works in Hollywood and has been a naturalized American citizen since 1998.<br />
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So imagine my surprise and pleasure last week when a friendly college English professor in New Jersey named Juda Bennett notified me by email that episode 57 on March 20 aired nationwide featuring a ‘Jeopardy’ <span style="color: blue;">”cli-fi”</span> clue and its correct answer of <span style="color: blue;">”climate fiction.”</span><br />
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Contestant Lindsey Shultz got it right and earned some money in the process. <br />
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All this was told to me by Juda in a brief email message that arrived out of the blue. Surprised and delighted, I Googled to try to find a video and the transcript of the show.<br />
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Juda wrote: “Hi Dan, you contacted me about my “Walking in the Anthropocene” class a while back and so now I am contacting you to make sure you know that your term, cli-fi, was a ‘Jeopardy’ question yesterday. Actually, they gave the question away when they asked what does cli-fi refer to, and I believe they referenced Kim Stanley Robinson’s work.”<br />
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Juda, an author, literary theorist and professor at The College of New Jersey, added: “Yes, it was the March 20 show where Jonathan Lindeen won. I looked for the episode but I don’t know when they post these things. The clue — if I remember correctly — comes on the program about 3/4 of the way in.”<br />
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My Google searches led to me to an online transcript of episode 57 with this initial clue:<span style="color: blue;"> ”The planet’s in trouble in the novel ‘New York 2140’ by Kim Stanley Robinson, part of the ”cli-fi” subgenre, short for this.”</span><br />
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Lindsey clicked her stage buzzer before the other two contestants and got the answer right: <span style="color: blue;">“climate fiction.”</span><br />
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Here’s a link to the transcript on the second page of a fan site run by fans of ”Jeopardy” which has no connection to the the producers of the show:<a href="http://j-archive.com/showgame.php?game_id=6245"><em><strong> </strong></em></a><br />
<em><strong><a href="http://j-archive.com/showgame.php?game_id=6245">http://j-archive.com/showgame.php?game_id=6245</a></strong></em><br />
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Yes, they did give it away, but Jeopardy increasingly gives away the answers,” Professor Bennett told me. “It is difficult to assess because the rest of the world is just catching up to you (and the term you coined) my friend. There are even people who do not believe in anthropogenic climate change. This reminds me of a 1980s Jeopardy question about AIDS, which was also a question that they gave away, but when I saw it during the early 1980s our American president at that time had still never said the AIDS word in public. Words are power.”<br />
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This month has been a busy month for the cli-fi genre in literary circles, and the Jeopardy mention was just icing on the global warming cake, so to speak.<br />
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On March 13, the Oprah Winfrey magazine “O” published a news article titled “7 Books That Provocatively Tackle Climate Change: They Each Fit Into a New Genre: Cli-Fi.”<br />
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<span style="font-size: x-large;">Oprah! Who knew?</span><br />
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”O” introduced the article this way: ”[We identify] an intriguing epidemic: the proliferation of provocative novels in which the enemy is climate change.” “As news of the oceans warming and icebergs melting grows ever more urgent, the light drizzle of fiction about eco-disaster spawned by J.G. Ballard’s ahead-of-its-time sci-fi thriller 'The Drowned World' (1962) has gone full-on flood, with apocalyptic visions from a diverse array of authors hitting the mainstream.” <br />
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“In Barbara Kingsolver’s 'Flight Behavior', pollution and other biospheric disruptions throw a colony of butterflies off their migration course to disastrous effect, while in Claire Vaye Watkins’s 'Gold Fame Citrus,' a California besieged by sandstorms illuminates social inequities and the excesses of Hollywood. So robust is the growing genre that it’s earned its own name: cli-fi (short for climate fiction),” O noted.<br />
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And then O introduced the following cli-fi novels: Clade by James Bradley; The Water Knife’ by Paolo Bacigalupi; The Year of the Flood by Margaret Atwood; American War by Omar El Akkad; Blackfish City by Sam J. Miller; New York 2140′ by Kim Stanley Robinson; and Salvage the Bones by Jesmyn Ward.<br />
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From Jeopardy’ to ”O,” the PR doesn’t get much better than this.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-79417439337734351902018-04-04T20:07:00.002-07:002018-04-04T20:07:32.402-07:00''Cambio climático, seria amenaza'' - ''Climate Change: The Threat We Face'' <div class="gmail_default" style="background-color: white;">
<span style="color: #222222; font-family: garamond, serif; font-size: medium;">''Cambio climático, seria amenaza'' - ''Climate Change: The Threat We Face''</span></div>
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''Cambio climático, seria amenaza''</div>
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La Opinión</div>
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2018.3.27</div>
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... a pesar de que, no solo los activistas políticos, sino también la ficción, llevan advirtiendo desde hace décadas”, <a href="https://elpais.com/elpais/2015/10/11/tentaciones/1444559211_036190.html">citó hace un par de años el diario español El País, en un artículo alusivo a la literatura que predice el cambio climático: El nuevo género literario Clima-Ficción, mejor conocido como Cli-Fi.</a></div>
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LINK:</div>
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<span style="color: #222222; font-family: garamond, serif; font-size: medium;"><a href="https://elpais.com/elpais/2015/10/11/tentaciones/1444559211_036190.html">https://elpais.com/elpais/2015/10/11/tentaciones/1444559211_036190.html</a></span></div>
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<span style="font-size: x-large;">Climate change: the threat</span></div>
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the Opinion-2018年3月27日</div>
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... in spite of that, not only political activists, but also fiction, have been warning for decades," <a href="https://elpais.com/elpais/2015/10/11/tentaciones/1444559211_036190.html">a couple of years ago the Spanish daily newspaper El País, in an article referring to the literature that predicts the climate change: the new Clima-Ficcion literary genre</a>, better known <a href="http://cli-fi.net/">as Cli-Fi.</a></div>
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Cli-Fi: la literatura que predice el cambio climático</h1>
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¿Distopía o futuro más o menos cercano? Un repaso a las grandes obras nos alerta de una realidad... ¿posible?</h2>
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<span style="font-size: x-large;">by <a href="http://elpais.com/autor/el_pais/a/" itemprop="url" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; box-sizing: border-box; color: #111111; font-stretch: inherit; font-weight: bold; line-height: 17.3999996185303px; margin: 0px; padding: 0px; text-decoration: none; text-transform: uppercase; vertical-align: baseline;" title="Ver todas las noticias de Ángela Cantalejo">ÁNGELA CANTALEJO</a></span></div>
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Tras el <a href="http://www.un.org/climatechange/es/blog/2015/06/la-onu-elogia-la-enciclica-del-papa-francisco-sobre-el-cambio-climatico/" style="background-color: transparent; border-bottom-color: rgb(231, 51, 93); border-bottom-style: dotted; border-width: 0px 0px 0.063rem; box-sizing: border-box; color: #e7335d; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">tirón de orejas</a> que el papa Francisco pegó a todos los altos representantes de la ONU reunidos en Nueva York hace algunos días, otros mandamases como el Príncipe de Gales, que recientemente escribió una solemne carta a la justicia británica para que se pusiera las pilas combatiendo el cambio climático, han levantado su voz a favor de una conciencia ecológica global. No son los únicos: Leonardo DiCaprio, gran actor que además de preservar el hábitat natural de modelos de metro ochenta parece también muy preocupado por la destrucción del ecosistema de especies de <a href="http://elpais.com/elpais/2015/09/30/estilo/1443605859_049726.html" style="background-color: transparent; border-bottom-color: rgb(231, 51, 93); border-bottom-style: dotted; border-width: 0px 0px 0.063rem; box-sizing: border-box; color: #e7335d; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;">tortugas amenazadas</a> , participó la semana pasada, sin ir más lejos, en un simposio de particulares e inversores comprometidos en eliminar cualquier negocio relacionado con combustibles fósiles. El cambio climático parece algo serio a lo que parece no terminamos de hacer caso a pesar de que, no sólo los activistas políticos, sino también la ficción, llevan advirtiendo desde hace décadas. Sin ánimo de adelantar el juicio final o resultar catastrofistas, repasamos cinco obras de ficción representativas de ese género.</div>
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<span style="color: #444444; font-family: Benton Sans, sans-serif;"><span style="font-size: 17.007999420166px; line-height: 28.0631980895996px;">After the slap on the wrist that <b>Pope Francis</b> hit all the high representatives of the UN meeting in New York a few days ago, other rulers as <b>Charles the Prince of Wales</b>, who recently wrote a formal letter to the British justice to put the batteries in the fight against climate change, have raised their voice in favor of a global ecological awareness. Are not the only ones: <b>Leonardo DiCaprio</b>, great actor who in addition to preserve the natural habitat of 1980s metro models also seems to be very concerned about the destruction of the ecosystem of endangered turtle species , participated last week, without going any further, in a symposium of individuals and investors committed to eliminate any business related with fossil fuels. Climate change appears to be serious to what appears to not end up making the case in spite of that, <b>not only political activists, <a href="http://cli-fi.net/">but also fiction,</a></b> take warning from decades ago. Without wishing to advance the final judgment or be catastrophists, we review 5 works of fiction representative of that genre.</span></span></div>
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<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">1. <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Libro del Apocalipsis. La Biblia.</em>(Fecha indeterminada entre el siglo I y II)</strong>Tomando la Biblia católica de manera literaria y no doctrinal, podemos decir sin temor a equivocarnos que no hay una descripción más aterradora de una catástrofe climática que la que describe el propio libro del Apocalipsis (bueno, la parte de Diluvio Universal también tiene tela) protagonizada, en este caso, por siete ángeles encargados de destruir la tierra, mar, ríos y todo bicho viviente. Algunos fragmentos dicen: (Apocalipsis 8, 7-11) “El primer ángel tocó la trompeta, y hubo granizo y fuego mezclados con sangre, que fueron lanzados sobre la tierra; y la tercera parte de los árboles se quemó, y se quemó toda la hierba verde. El segundo ángel tocó la trompeta, y como una gran montaña ardiendo en fuego fue precipitada en el mar; y la tercera parte del mar se convirtió en sangre. Y murió la tercera parte de los seres vivientes que estaban en el mar (…) El tercer ángel tocó la trompeta, y cayó del cielo una gran estrella, ardiendo como una antorcha, y cayó sobre la tercera parte de los ríos, y sobre las fuentes de las aguas. (…), “unas aguas amargas que matan a los hombres”… Y, en fin, capítulos enteros que narran toda serie de tormentas, granizos de cuarenta kilos, terremotos, azufre por doquier, y “hombres (que) buscarán la muerte, pero no la hallarán; y ansiarán morir, pero la muerte huirá de ellos”. Una masacre ecológica en toda regla.</div>
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<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">2. <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">El mundo de cristal</em> (1966). J.G. Ballard.</strong> Con momentos descriptivos que recuerdan a las atmósferas más tenebrosas de Conrad, J.G Ballard, uno de los maestros indiscutibles del género, introduce desde las primeras páginas al lector en un mundo fantástico, repleto de animales extraños y selva cristalizada, que resulta, al mismo tiempo, paradójicamente real. Ese cristal que asola el mundo es, por una parte, mortal y, por otra, precioso y protector con lo que toca (¿cómo el hombre?). No es quizá su obra más famosa, pero, junto con sus predecesoras <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">El mundo sumergido</em> (1962), <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">El huracán cósmico</em> (1963) y <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">La Sequía</em> (1964), forma una suerte de tetralogía apocalíptica que ha sido modelo para otras muchas novelas que vendrían después.</div>
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<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">3</strong>. <strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">La carretera</em> (2006). Cormac McCarthy</strong>. En un mundo gris, polvoriento y lúgubre, McCarthy desciende al lector hasta la hipodermis narrativa: lo desafía desgarrando a jirones su piel adormecida, indolente y resignada haciéndole espectador del viaje de un padre y su hijo por una vida sin nada: sin arte, ni música, ni naturaleza, ni risa….solo supervivencia en un planeta destruido. Y al lector no le queda otra que recoger el guante. Porque en una novela de algo más de 200 páginas no hay nombres, ni referencias históricas o temporales, no hay pasado ni futuro; solo el feroz enfrentamiento a un asfixiante presente. Y es precisamente esa falta de aire la que hace al lector incomodarse, revolcarse en el lodo de eso mismo que comparte con los protagonistas: su condición de humanos. ¿Qué se puede esperar cuando ya no queda ninguna razón para querer vivir?</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-1189855403431186032018-01-17T21:26:00.000-08:002018-01-17T21:26:24.086-08:00he Humanity Bureau is one of the latest examples of the ”cli-fi” genre, a climate-change-themed action thriller which revolves around global warming wreaking havoc on the world in the near future. Nicolas Cage plays “an ambitious and impartial caseworker”, who works for a government agency that sends “unproductive members of society” to a colony called “New Eden”, which we just KNOW is nowhere near as pleasant as it sounds. We can be sure that some dystopian truths will be uncovered. Sarah Lind, Jakob Davies and Hugh Dillon have also joined the cast. http://junkee.com/nicolas-cage-vr/143237 The Humanity Bureau hits USA cinemas in April, while the VR series launched on March 2. Nic Cage’s Next Cli-Fi Film Is Coming To Virtual Reality First, Because Of Course It Is Patrick Lenton at Junkee Media in Australia on Nic Cage's new cli-fi movie THE HUMAN BUREAU by PATRICK LENTON 18 JANUARY HTTP://JUNKEE.COM/NICOLAS-CAGE-VR/143237<div style="-webkit-font-smoothing: antialiased; background-color: white; box-sizing: border-box; color: #333333; font-family: proxima-nova, sans-serif; font-size: 1.75rem; line-height: 2.8rem; margin-bottom: 2.7rem; padding-left: 0px; padding-right: 0px; text-rendering: optimizeLegibility;">
<em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; text-rendering: optimizeLegibility;">he Humanity Bureau</em> is one of the latest examples of the<a href="http://korgw101.blogspot.com/"> ”cli-fi” genre,</a> a climate-change-themed action thriller which revolves around global warming wreaking havoc on the world in the near future. Nicolas Cage plays “an ambitious and impartial caseworker”, who works for a government agency that sends “unproductive members of society” to a colony called “New Eden”, which we just KNOW is nowhere near as pleasant as it sounds. We can be sure that some dystopian truths will be uncovered. Sarah Lind, Jakob Davies and Hugh Dillon have also joined the cast.</div>
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<span style="color: #333333; font-family: proxima-nova, sans-serif;"><span style="font-size: 28px; line-height: 44.7999992370606px;"><a href="http://junkee.com/nicolas-cage-vr/143237">http://junkee.com/nicolas-cage-vr/143237</a></span></span></div>
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<em style="-webkit-font-smoothing: antialiased; box-sizing: border-box; text-rendering: optimizeLegibility;">The Humanity Bureau</em> hits USA cinemas in April, while the VR series launched on March 2.</div>
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Nic Cage’s Next <a href="http://cli-fi.net/">Cli-Fi</a> Film Is Coming To Virtual Reality First, Because Of Course It Is</h1>
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Patrick Lenton at Junkee Media in Australia on Nic Cage's new cli-fi movie THE HUMAN BUREAU</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-15529316268484777072017-10-12T22:25:00.004-07:002017-10-12T22:25:52.513-07:00Academics have led the way in championing the rise of the cli-fi literary genre, while the mainstream media sat on its tuches and did nothing<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;">Headline: <em>Academics have led the way in championing the rise of the <a href="http://cli-fi.net/">cli-fi literary genre</a>, while the mainstream media sat on its tuches and did nothing</em></span></div>
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As the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.1" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.2" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> literary genre gathers steam world, it turns out that the major force <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.3" role="menuitem" style="background: yellow;" tabindex="-1">beind</span> its rise -- both championing <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.4" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.5" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> and studying it -- is <a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/">academia</a>. </div>
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<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.6" role="menuitem" style="background: yellow;" tabindex="-1">Cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.7" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> is where it is today largely due to the interest of academics in several English-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.8" role="menuitem" style="background: yellow;" tabindex="-1">speaking</span> nations, <a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/">including the USA, Canada, Australia and the UK.</a> </div>
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<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.9" role="menuitem" style="background: yellow;" tabindex="-1">Cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.10" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> has become popular *not* because of the lazy, provincial, partying media -- not the mainstream media (<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.11" role="menuitem" style="background: yellow;" tabindex="-1">MSM</span>)), not major newspapers like the New York Times or the Washington Post -- nor because of book reviewers, or literary critics or bloggers. The main force behind <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.12" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.13" role="menuitem" style="background: yellow;" tabindex="-1">fi's</span> rise has been t<a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/">he global army of literary academics who have been writing papers, penning <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.14" role="menuitem" style="background: yellow;" tabindex="-1">opeds</span> and publishing books about <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.15" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.16" role="menuitem" style="background: yellow;" tabindex="-1">fi</span>.</a> </div>
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<span style="font-size: x-large;">I am talking about Stephanie LeMenager, Andrew Milner, Julia Leyda, Susanne Leikam, Ted Howell, and</span><a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/"><span style="font-size: x-large;"> 100 other academics worldwide</span></a><span style="font-size: x-large;">. I salute them all! Scroll down to see their names at the bottom of this page!</span></div>
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Literary gatekeepers at such mainstream corporate newspapers with links to the publishing industry, such as the New York Times or the Washington Post or the Los Angeles Times, don't have <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.17" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.18" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> on their radar and some have even asked their reporters not to mention the term "<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.19" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.20" role="menuitem" style="background: yellow;" tabindex="-1">fi</span>" in books reviews or news articles. The editor of the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.21" role="menuitem" style="background: yellow;" tabindex="-1">NYT</span> books section has even said that as long she is the editor there, the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.22" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.23" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> term will never appear in print in her section. Can you believe it? I saw the email. She really said that. </div>
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The <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.24" role="menuitem" style="background: yellow;" tabindex="-1">MSM</span> is not interesting in the rise of <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.25" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.26" role="menuitem" style="background: yellow;" tabindex="-1">fi</span>, while globally, scores of academics have risen to the challenge of studying the genre and delving into its origins and possibilities. For <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.27" role="menuitem" style="background: yellow;" tabindex="-1">MSM</span> newspaper reporters and books section editors, the very nature of their jobs keeps them preoccupied with business as usual in kissing up the the corporate book industry and they say that they just don't have the time or interest in looking beyond their career and provincial literary borders. </div>
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Ask any editor at the New York Times or the Washington Post or the Los Angeles Times. But not Reuters or the Associated Press. Both wire services have reported on the rise of <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.28" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.29" role="menuitem" style="background: yellow;" tabindex="-1">fi</span>, without fear from the corporate book industry at such publications as Publishers Weekly, which has also banned the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.30" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.31" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> term from appearing in its pages as per orders from top editor Jim <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.32" role="menuitem" style="background: yellow;" tabindex="-1">Milliot</span>. <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.33" role="menuitem" style="background: yellow;" tabindex="-1">Oy</span>. <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.34" role="menuitem" style="background: yellow;" tabindex="-1">C'est</span> la vie. Business as usual.</div>
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But academics are interested in <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.35" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.36" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> and for a very good reason. The rise of <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.37" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.38" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> fits into the reason why they worked hard to obtain their <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.39" role="menuitem" style="background: yellow;" tabindex="-1">PhDs</span> and become academics in the first place. They are not beholden to the mass media or literary gatekeepers of the publishing industry or PW and the Sunday Book Review editor. Academics are pioneers, seekers, philosophers, critics. They see the world through their own personal lenses, and <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.40" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.41" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> fits right into their very reason to be alive and living in the 21 Century. Academics are the vanguard, while the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.42" role="menuitem" style="background: yellow;" tabindex="-1">MSM</span> literary gatekeepers are the rear-guard. It's always been that way. Academics fear nothing. Literary gatekeepers at the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.43" role="menuitem" style="background: yellow;" tabindex="-1">NYT</span> and the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.44" role="menuitem" style="background: yellow;" tabindex="-1">Washingston</span> Post and the Los Angeles Times and the Boston Globe fear losing their access to power and posh publishing parties.</div>
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So long live academics! They are championing <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.45" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.46" role="menuitem" style="background: yellow;" tabindex="-1">fi</span> in a way the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.47" role="menuitem" style="background: yellow;" tabindex="-1">MSM</span> has never chosen to do. Academics go where their interesting take them, without fear or favor. Academics are trailblazers, the <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.48" role="menuitem" style="background: yellow;" tabindex="-1">MSM</span> literary editors are mere gatekeepers, keeping the "new" out of sight and off their radar screens.</div>
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This online essay by Susanne <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.49" role="menuitem" style="background: yellow;" tabindex="-1">Leikam</span> and Julia <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.50" role="menuitem" style="background: yellow;" tabindex="-1">Leyda</span> shows exactly how welcoming the academic world has been to the rise of <span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.51" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.52" role="menuitem" style="background: yellow;" tabindex="-1">fi</span>: <a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/" target="_blank"><u><span color="#000080" style="color: navy;">http://www.<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.53" role="menuitem" style="background: yellow;" tabindex="-1">asjournal</span>.org/62-<wbr></wbr>2017/<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.54" role="menuitem" style="background: yellow;" tabindex="-1">cli</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.55" role="menuitem" style="background: yellow;" tabindex="-1">fi</span>-<span aria-haspopup="true" class="J-JK9eJ-PJVNOc" data-g-spell-status="2" id=":n2.56" role="menuitem" style="background: yellow;" tabindex="-1">american</span>-studies-<wbr></wbr>research-bibliography/</span></u></a><span><span></span><span><span><span style="color: #222222;"> </span></span></span></span></div>
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<span><span><span><span style="color: #222222;">Adamson, Morgan. “Anthropocene Realism.” <a href="https://thenewinquiry.com/anthropocene-realism/"><em>New Inquiry</em></a> 30 Nov. 2015. Web.<br />
Ahuja, Neel. “Intimate Atmospheres: Queer Theory in a Time of Extinctions.” <em>GLQ: A Journal of Lesbian and Gay Studies</em> 21.2–3 (2015): 365–85. Print. <br />
Alaimo, Stacy. <em>Bodily Natures: Science, Environment, and the Material Self</em>. Bloomington: Indiana UP, 2010. Print.<br />
Anderson, Alison. <em>Media, Culture, and the Environment.</em> London: Routledge, 1997. Print.<br />
Arnold, Gordon B. <em>Projecting the End of the American Dream: Hollywood’s Visions of U.S.</em> <em>Decline</em>. Oxford: Praeger, 2013. Print.<br />
Atwood, Margaret. <em>In Other Worlds: SF and the Human Imagination. </em>New York: Doubleday, 2011. Print.<br />
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Svoboda, Michael. “Cli‐Fi on the Screen(s): Patterns in the Representations of Climate Change in Fictional Films. <a href="http://onlinelibrary.wiley.com/doi/10.1002/wcc.381/abstract"><em>Wiley Interdisciplinary Reviews: Climate Change</em></a> 7.1 (2016): 43–64. Web.<br />
—. “Interstellar: Looking for the Future in All the Wrong Spaces.” <a href="https://www.yaleclimateconnections.org/2014/11/interstellar-looking-for-the-future-in-all-the-wrong-spaces/"><em>Yale Climate Connections</em></a> 12 Nov. 2014. Web.<br />
—. “(What) Do We Learn from Cli-Fi Film? Hollywood Still Stuck in the Holocene.” <a href="https://www.yaleclimateconnections.org/2014/11/what-do-we-learn-from-cli-fi-films-hollywood-still-stuck-in-holocene/"><em>Yale Climate Connections</em></a> 19 Nov. 2014. Web.<br />
Szabo, Ellen B. <em>Saving the World One Word at a Time: Writing Cli-Fi</em>. Gloucester: Yellow Island P, 2015. Print.<br />
Telotte, J. P. “Science Fiction Reflects Our Anxieties.” Room for Debate Blog. <a href="https://www.nytimes.com/roomfordebate/2014/07/29/will-fiction-influence-how-we-react-to-climate-change/science-fiction-reflects-our-anxieties"><em>New York Times</em></a> 30 July 2014. Web.<br />
Thomas, Sheree Renée. “Imagination will Help Find Solutions to Climate Change.” Room for Debate Blog. <a href="https://www.nytimes.com/roomfordebate/2014/07/29/will-fiction-influence-how-we-react-to-climate-change/imagination-will-help-find-solutions-to-climate-change"><em>New York Times</em></a> 29 July 2014. Web.<br />
Tonn, Shara. “Cli-Fi—That’s Climate Fiction—Is the New Sci-Fi.” <a href="https://www.wired.com/2015/07/cli-fi-thats-climate-fiction-new-sci-fi/"><em>Wired</em></a> 17 Jun. 2015. Web.<br />
Torday, Piers. “Why Writing Stories about Climate Change Isn’t Fantasy or Sci-Fi.” <a href="https://www.theguardian.com/childrens-books-site/2015/apr/21/climate-change-isnt-fantasy-sci-fi-piers-torday"><em>Guardian</em></a> 21 Apr. 2015. Web.<br />
Toscano, Peterson. “A Queer Response to Climate Change.” <a href="https://petersontoscano.com/portfolio/a-queer-response-to-climate-change/">Peterson Toscano Blog </a>n.d. Web.<br />
Trexler, Adam. <em>Anthropocene Fictions: The Novel in a Time of Climate Change</em>. Charlottesville: U of Virginia P, 2015. Print.<br />
Traub, Courtney. “Ecocatastrophic Nightmares: Romantic Sublime Legacies in Contemporary Experimental American Fiction.” <em>Arizona Quarterly</em> 72.2 (2016): 29–60. Print.<br />
Tuhus-Dubrow, Rebecca. “Cli-Fi: Birth of a Genre.” <a href="https://www.dissentmagazine.org/article/cli-fi-birth-of-a-genre"><em>Dissent</em></a> 2 (2013). Web.<br />
Ullrich, J.K. “Climate Fiction: Can Books Save the Planet?” <a href="https://www.theatlantic.com/entertainment/archive/2015/08/climate-fiction-margaret-atwood-literature/400112/"><em>Atlantic</em></a> 14 Aug. 2015. Web.<br />
Urry, Amelia. “Can Fiction Make People Care about Climate? Paolo Bacigalupi Thinks So.” <a href="http://grist.org/living/can-fiction-make-people-care-about-climate-paolo-bacigalupi-thinks-so/"><em>Grist </em></a>9 July 2015. Web.<br />
Valentine, Ben. “Solarpunk Wants to Save the World.” <a href="http://www.hopesandfears.com/hopes/city/life/215749-solarpunk"><em>Hopes and Fears</em></a> n.d. Web.<br />
Wapner, Paul, and Hilal Elver, eds. <em>Reimagining Climate Change</em>. London: Routledge, 2017. Print.<br />
Wark, McKenzie. <em>Molecular Red: Theory for the Anthropocene</em>. London: Verso, 2015. Print.<br />
Warrick, Joby. “Why Are So Many Americans Skeptical about Climate Change? A Study Offers a Surprising Answer.” <a href="https://www.washingtonpost.com/news/energy-environment/wp/2015/11/23/why-are-so-many-americans-skeptical-about-climate-change-a-study-offers-a-surprising-answer/"><em>Washington Post</em></a> 23 Nov. 2015. Web.<br />
Weik von Mossner, Alexa. <em>Moving Environments: Affect, Emotion, Ecology, and Film</em>. Waterloo: Wilfred Laurier UP, 2014. Print.<br />
Whiteley, Andrea, Angie Chiang, and Edna Einsiedel. “Climate Change Imaginaries? Examining Expectation Narratives in Cli-Fi Novels.” <em>Bulletin of Science, Technology, and Society</em> 36.1 (2016): 28–37. Print.<br />
“Will Fiction Influence How We React to Climate Change?” Room for Debate Blog. <a href="https://www.nytimes.com/roomfordebate/2014/07/29/will-fiction-influence-how-we-react-to-climate-change"><em>New York Times</em></a> 29 July 2015. Web.<br />
Worden, Daniel. “Fossil-Fuel Futurity: Oil in <em>Giant</em>.” <em>Journal of American Studies</em> 46 (2012): 441–60. Print.<br />
Yaeger, Patricia. “Editor’s Column: Literature in the Ages of Wood, Tallow, Coal, Whale Oil, Gasoline, Atomic Power, and Other Energy Sources.” <em>PMLA </em>126.2 (2011): 305–10. Print.<br />
Ziser, Michael, and Julie Sze. “Climate Change, Environmental Aesthetics, and Global Environmental Justice Cultural Studies.” <em>Discourse</em> 29.2–3 (2007): 384–410. Print.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-24153008999143224992017-10-12T21:19:00.001-07:002017-10-12T21:19:13.448-07:00'Yale Climate Connections' champions the rise of the 'cli-fi' literary genre<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;">''Burning Worlds'' is Amy Brady’s monthly column dedicated to examining current trends in climate change fiction, or </span><a data-mce-href="http://cli-fi.net" href="http://cli-fi.net/"><span style="font-size: large;">“cli-fi,” </span></a><span style="font-size: large;">in partnership with Yale Climate Connections at Yale University.</span><br />
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As the new literary genre of cli-fi gathers steam worldwide, <a data-mce-href="https://www.yaleclimateconnections.org/2017/10/interview-with-author-of-autonomous-novel/" href="https://www.yaleclimateconnections.org/2017/10/interview-with-author-of-autonomous-novel/">the Yale Climate Connections website </a>is getting into the act as well. In her first piece to launch a monthly cli-fi trends column earlier this year, New York literary critic Amy Brady ran a general introductory Q&A article about the rise of cli-fi, with some "reading suggestions" for those who wanted to explore several varieties of cli-fi literature. <a data-mce-href="https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/" href="https://chireviewofbooks.com/2017/02/08/the-man-who-coined-cli-fi-has-some-reading-suggestions-for-you/">The Yale Climate Connections website reprinted her column as well.</a><br />
In her ongoing column, Brady has already interviewed such novelists as Kim Stanley Robinson, Aaron Thier, Annalee Newitz and Ashley Shelby as well as academics such as Malcom Sen and others. And there's more to come.<br />
As the 20th century morphed into the 21st century in the late 1990s, the global landscape of cultural production started to teem with<a data-mce-href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/" href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/"> a cornucopia of fictional ''cli-fi'' texts in print and on cinema and TV screens, </a>engaging with the local and global impact of man-made global warming. In academia as well as in popular culture, this rapidly growing body of texts is now commonly referred to by the catchy linguistic portmanteau ''cli-fi.'' <br />
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Already <a data-mce-href="https://en.wikipedia.org/wiki/Climate_fiction" href="https://en.wikipedia.org/wiki/Climate_fiction">cli-fi has transitioned from a sub-cultural colloquialism circulating informally around the blogosphere into both a cultural buzzword and a staple academic term </a>as well.<br /><br /> For an extensive bibliography of over 100 academic links, see<a data-mce-href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/" href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/"> "Cli-Fi in American Studies: A Research Bibliography,'' </a>an online article by Europe-based researchers Susanne Leikam and Julia Leyda.<br />
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<span style="font-size: xx-small;">Yale Climate Connections is a nonpartisan, multimedia service providing daily broadcast radio programming and original web-based reporting, commentary, and analysis on the issue of climate change, one of the greatest challenges and stories confronting modern society.</span><br />
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<span style="font-size: xx-small;">Edited by veteran journalist and journalism educator Bud Ward, YCC provides content developed by a network of experienced independent freelance science journalists, researchers, and educators across the country. In doing so, it brings together a dynamic global community of individuals, scientists, educators, and media and communicators in their common pursuit of better understanding and of responsibly addressing climate-related risks. </span><br />
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<span style="font-size: xx-small;">Yale Climate Connections is an initiative of the Yale Center for Environmental Communication (YCEC), directed by</span><a data-mce-href="https://www.yaleclimateconnections.org/about-us/" href="https://www.yaleclimateconnections.org/about-us/"><span style="font-size: xx-small;"> Anthony Leiserowitz of the Yale School of Forestry & Environmental Studies on the campus of Yale University.</span></a><br />
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</aside>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-18314649304602710712017-10-11T22:34:00.001-07:002017-10-11T22:34:06.012-07:00New Report: "Cli-Fi in American Studies: A Research Bibliography"<span style="font-size: x-large;">Subject: climate-l digest: October 11, 2017<br /> From: "Climate Change Info Mailing List digest" <</span><a href="mailto:climate-l@lists.iisd.ca"><span style="color: #1155cc; font-size: x-large;">climate-l@lists.iisd.ca</span></a><span style="font-size: x-large;">><br /> Reply-To: "Climate Change Info Mailing List" <</span><a href="mailto:climate-l@lists.iisd.ca"><span style="color: #1155cc; font-size: x-large;">climate-l@lists.iisd.ca</span></a><span style="font-size: x-large;">><br /> Date: Wed, 11 Oct 2017 23:00:02 -0500</span><br /><br /> | Having trouble viewing this digest email? Please visit our "climate-l" forum to read all messages: <a data-saferedirecturl="https://www.google.com/url?hl=en&q=https://lists.iisd.ca/read/?forum%3Dclimate-l&source=gmail&ust=1507872385965000&usg=AFQjCNEd8U6LUte4F2c0zFNd2l3IhyWgCg" href="https://lists.iisd.ca/read/?forum=climate-l" rel="noreferrer" target="_blank"><span style="color: #1155cc;">https://lists.iisd.ca/read/?<wbr></wbr></span>forum=climate-l</a><span style="color: #555555;"> |<br /> CLIMATE-L Digest for Wednesday, October 11, 2017.<br /><br /><span style="font-size: xx-small;"> 1. Now in German - Peatlands and climate change infographic<br /> 2. Pathways for sustainable cities of the future – Join us in Brussels on October 23-25<br /> 3. Invitation to Register for the 2017 IBS Conference on Climate Change and Human Migration in Busan, South Korea</span></span><br />
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<span style="color: #555555;"><br /><span style="color: red; font-size: large;"> 4. New Report: <a href="http://cli-fi.net/">"Cli-Fi in American Studies: A Research Bibliography"</a></span></span><br />
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<span style="color: #555555;"><br /><span style="font-size: xx-small;"> 5. International Climate Policy Magazine N.48<br /> 6. BRACED Wébinaire: Les services météo s'allient aux agro-pasteurs - leçons du Niger - Oct 12, 11h00-12h00 UTC<br /> 7. OECD Green Investment Financing Forum - 24-25 October, Paris<br /> 8. Guyana Forestry Commission- Invitation for Proposals<br /> 9. OPINION: World needs a collective strategy to deal with US at Bonn climate conference<br /> 10. Share Your Work at the Nexus of Agriculture & Climate Change with the Climatelinks Community<br /> 11. Smart water solutions for sustainable development – Join us in Brussels on October 23-25<br /> 12. REGISTER | Towards a Pollution-Free Planet: UN Environment North American stakeholder consultation in advance of UNEA-3 | Toronto, Canada, Oct 26<br /> 13. weADAPT: Ever wondered what resilience looks like in practice...?<br /> 14. Paris will hosts the 3rd edition of Ecopreneurs pour le Climate on 21 October<br /> 15. After COP23 - International Civil Society Week (4-8 December, Fiji)<br /> 16. Asset Risk Screening - New Approach Applying The Latest GCM/RCM Data</span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-15548266225606223682017-10-11T21:57:00.000-07:002017-10-11T21:57:23.696-07:00Spunky Knowsalot<br />
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<strong><span style="font-size: large;">Is <span style="color: red;">this</span> Spunky Knowsalot?</span></strong></div>
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<span style="font-size: large;">American climate activist Bill McKibben has entered the cli-fi world, with</span><a href="https://www.goodreads.com/book/show/34626374-radio-free-vermont"><span style="font-size: large;"> a debut novel titled “Radio Free Vermont</span></a><span style="font-size: large;">.” And we have Spunky Knowsalot to thank for this 250-page seriocomic piece of writing. Who? Keep reading to find out who Spunky Knowsalot is!</span></div>
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<a href="http://grist.org/article/mckibben-imagine/">Way back in 2005, McKibben was calling for novels and movies about cli-fi,</a> and he revisited the same essay in an updated form again in 2009, also calling for cli-fi novels as he did in 2005, but it took him another 12 years to finally sit down with the help of Spunky Knowsalot to write his own comic entry in the <a href="http://cli-fi.net/">cli-fi </a>sweepstakes.</div>
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When he wrote the Grist essay titled <span style="color: red;">”What the warming world needs now is art, sweet art”</span> in 2005, the cli-fi term had not yet been coined. But fast foward to 2017 and McKibben is aboard the train now, using a semi-comic novel to reach readers worldwide, as the book will be translated into 25 languages over the next several years.</div>
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<span style="font-size: large;">So who is Spunky Knowsalot? He first surfaces on the book's dedication page where Mckibben writes: "For Spunky Knowsalot"</span></div>
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Starting November 7, which is the novel’s official publication date, McKibben will embark on a nationwide book tour to promote the novel, and you can expect literary critics and book reviewers and newspaper reporters to ask him about the identity of Mr Spunky Knowsalot. Who? Keep reading.</div>
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McKibben’s debut novel -- and a goood solid piece of cli-fi it is! -- follows a band of Vermont patriots who decide that their state might be better off as its own republic in the Age of Trump.</div>
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Witty, biting, and terrifyingly timely, ”<i>Radio Free Vermont”</i> is Bill's fictional response to the burgeoning resistance movement created by the election of Donald J. Trump in 2016. It’s cli-fi with a comic twist, as only Mckibben can twist it.</div>
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So before we end this preview, who the heck is SPUNKY KNOWSALOT? So far, Bill is not telling, his editors at Blue Rider Press are not telling, his PR people at Penguin RandonHouse Group USA are not telling, and his marketing team is not saying either. <br /></div>
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<span style="color: red;">Hint:</span> if anyone knows the identity of Spunky Knowsalot, please leave a message in the comments section below.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-80547829009373995502017-10-11T21:38:00.003-07:002017-10-11T21:38:52.064-07:00Meet Megan Herbert and Michael Mann.<br />
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Megan Herbert and Michael Mann<div class="m_-4041953649732718716gmail-template m_-4041953649732718716gmail-asset">
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We’re both life-long communicators, Michael in the field of science, and Megan as a writer and illustrator. Despite coming from different backgrounds, we share the same purpose: to communicate about climate change to children in a way that educates and empowers them to make a real difference.<br />
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We’re both parents. We love our kids. We worry about the state of the world that we’re passing onto them. And we want them to know that, as much as we wish it weren’t the case, we have a big mountain to climb if we’re going to overcome the climate crisis. And it is a crisis. If we don’t act to significantly and quickly reduce carbon emissions and change our global habits, the world future generations inherit from us will be one of scarcity, extreme weather, and social unrest.<br />
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But how to communicate all this to children?<br />
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<a href="https://www.kickstarter.com/projects/worldsavingtantrum/the-tantrum-that-saved-the-world-carbon-neutral-ki?ref=356451&token=fdb215f2">https://www.kickstarter.com/projects/worldsavingtantrum/the-tantrum-that-saved-the-world-carbon-neutral-ki?ref=356451&token=fdb215f2</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-35753854956814704412017-10-11T21:34:00.000-07:002017-10-11T21:34:01.492-07:00This fall of 2017, people are performing short plays about #ClimateChange in theaters, classrooms, and even living rooms: Chantal Bilodeau explainsThis fall, people are performing short plays about <a class="twitter-hashtag pretty-link js-nav" data-query-source="hashtag_click" dir="ltr" href="https://twitter.com/hashtag/ClimateChange?src=hash"><s>#</s><b>ClimateChange</b></a> in theaters, classrooms, and even living rooms:<br />
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<a href="https://www.yaleclimateconnections.org/2017/10/in-lead-up-to-un-talks-climate-change-meets-theater/">https://www.yaleclimateconnections.org/2017/10/in-lead-up-to-un-talks-climate-change-meets-theater/</a><br />
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<a href="https://www.yaleclimateconnections.org/2017/10/in-lead-up-to-un-talks-climate-change-meets-theater/">https://www.yaleclimateconnections.org/2017/10/in-lead-up-to-un-talks-climate-change-meets-theater/</a><br />
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This fall, people are performing short plays about climate change in theatres, classrooms, and even living rooms around the world. It’s all part of an initiative called Climate Change Theatre Action.<br />
Bilodeau: “Sometimes the science can be intimidating and the politics can be divisive. So it’s a way to have a conversation that is more human-based and based in personal experiences and emotions rather than ideologies.”<br />
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That’s Chantal Bilodeau, artistic director of the Arctic Cycle, the group behind the global event. She says anybody can volunteer to present a play at a location of their choosing. Participants must select at least one short script from the theater’s collection.<br />
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Bilodeau: “They can add poems, dance, songs.”<br />
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People are also asked to include an action – anything from signing a petition to having a scientist talk about global warming. <br />
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The performances may take place in intimate venues, but they’re livestreamed when possible to reach larger audiences. <br />
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This year, Climate Change Theatre Action started in early October and runs through the U.N. climate talks in November, giving these local performances a global significance. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-18973348299991820602017-10-09T22:04:00.003-07:002017-10-11T22:15:47.611-07:00Bill McKibben pens a darkly comic cli-fi novel titled "Radio Free Vermont"<br />
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<em>As the 20th century began to morph into the 21st century in the late 1990s, the global landscape of cultural production started to teem with a cornucopia of fictional cli-fi texts, in print, in live performance, and on cinema and TV screens, engaging with the local and global impact of man-made global warming. In academia as well as in pop culture, this rapidly growing body of texts is now commonly referred to by the catchy linguistic portmanteau </em><a data-mce-href="http://cli-fi.net" href="http://cli-fi.net/"><em>''cli-fi.''</em></a><em> And it's growing.</em> <br />
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UPDATE:<br />
<a href="https://cli-fi-books.blogspot.tw/2017/10/spunky-knowsalot-knows-lot-about-bill.html">https://cli-fi-books.blogspot.tw/2017/10/spunky-knowsalot-knows-lot-about-bill.html</a> - Spunky Knowsalot Knows A Lot About Bill McKibben's new comic cli-fi novel RADIO FREE VERMONT but so far he's not telling...<br />
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<span style="font-size: large;">Climate activist Bill McKibben has even gotten into the act, with a 250 page cli-fi novel titled "Radio Free Vermont" published by Blue Rider Press, a corporate subsidiary of the multinational publishing powerhouse Penguin Group USA. More on the book in the final paragraphs below.</span><br />
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And already cli-fi has transitioned from a sub-cultural colloquialism circulating informally around the blogosphere into both a cultural buzzword and a staple academic term as well. <br />
Just to name a few examples from a long list: cli-fi was recently added to the <em>Oxford Dictionaries</em>, it has started to appear as a term in numerous academic conferences and publications, and there has been emergence of the first how-to manual such as Ellen Szabo’s <em>Saving the World One Word at a Time: Writing Cli-Fi, </em>and Amy Brady's monthly cli-fi lit column in the Chiago Review of Books on current cli-fi trends, and the increasing inclusion of cli-fi as a label in award classifications and marketing endeavors. <br />
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As you can see, cli-fi is in the air, and there's no stopping it. <br />
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There's no stepping on it, either.<br />
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However, despite the wealth of cli-fi primary texts across all media, there has not yet been a comprehensive compilation of secondary sources facilitating the engagement with cli-fi in the environmental humanities. <a data-mce-href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/" href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/">Now there is.</a><br />
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The list of over 100 references is a stepping stone into cli-fi's diverse, at times hotly debated, conceptual trajectories, disciplinary appropriations, and ideological underpinnings.<br />
The next 25 years will likely provide scholars and students in literary studies and related disciplines with rich ground for new research and classroom debate, calling for an even more rigorous scrutiny of the multiple contact points and interlockings between cli-fi and American literature -- and world literature as well.<br />
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<span style="font-size: x-large;">And now American climate activist Bill McKibben has entered the cli-fi world, with</span><a data-mce-href="https://www.goodreads.com/book/show/34626374-radio-free-vermont" href="https://www.goodreads.com/book/show/34626374-radio-free-vermont"><span style="font-size: x-large;"> a debut novel titled "Radio Free Vermont</span></a><span style="font-size: x-large;">."</span> <br />
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<a data-mce-href="http://grist.org/article/mckibben-imagine/" href="http://grist.org/article/mckibben-imagine/">Way back in 2005, McKibben was calling for novels and movies about cli-fi,</a> but it took him another 12 years to write his own entry in the <a data-mce-href="http://cli-fi.net" href="http://cli-fi.net/">cli-fi </a>sweepstakes. <br />
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When he wrote the Grist essay titled ''What the warming world needs now is art, sweet art" in 2005, the cli-fi term had not yet been coined. But fast foward to 2017 and McKibben is aboard the train now, using a semi-comic novel to reach readers worldwide, as the book will be translated into 25 languages over the next several years.<br />
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<strong>Starting November 7, which is the novel's official publication date, McKibben will embark on a nationwide book tour to promote the novel, and you can expect both glowing book reviews from climate activists and progressive literary critics as well as darkly negative reviews from climate denialists and rightwingers with their heads in the climate sands</strong>.<br />
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McKibben, a religious Christian who has been a Methodist all his life, is the founder of the environmental organizations ''Step It Up'' and 350.org, and was among the first to warn of the dangers of global warming. In 2010 <i>The Boston Globe</i> called him "probably the nation's leading environmentalist." <br />
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<span style="font-size: x-large;">The novel, which is also likely to be the beginning of a movement, is McKibben's debut and it follows a band of Vermont patriots who decide that their state might be better off as its own republic in the Age of Trump.</span><br />
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As the host of Radio Free Vermont -- a pirate radio station that is "underground, underpowered, and underfoot" -- an elderly man in his 70s named Vern Barclay is currently broadcasting from an "undisclosed and double-secret location." With the help of a young computer prodigy named Perry Alterson, Vern uses his radio show to advocate for a simple yet radical idea: an independent Vermont, one where the state secedes from the United States and operates under a free local economy. But for now, he and his radio show must remain untraceable, because in addition to being a lifelong Vermonter and concerned citizen, Vern Barclay is also a fugitive from the law.<br />
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In this entertaining cli-fi, McKibben, no spring chicken himself, expands upon an idea that's become more popular than ever: seceding from the United States of America. Along with Vern and Perry, McKibben imagines an eccentric group of activists who carry out their own version of guerilla warfare, which includes dismissing local middle school children early in honor of 'Ethan Allen Day' and hijacking a Coors Light truck and replacing the stock with local brew.<br />
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Witty, biting, and terrifyingly timely, ''<i>Radio Free Vermont''</i> is Bill McKibben's fictional response to the burgeoning resistance movement created by the election of Donald J. Trump in 2016. <br />
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<span style="font-size: x-large;">It's cli-fi with a comic twist, as only Mckibben can twist it.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-43093654188441413002017-10-08T21:12:00.001-07:002017-10-08T22:03:49.415-07:00Cli-Fi in American Studies: A Research Bibliography<br />
Cli-Fi in American Studies: A Research Bibliography<br />
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<a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/">by Susanne Leikam and Julia Leyda</a></div>
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<span style="font-size: x-large;">INTRODUCTION</span></div>
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<a href="http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/"><span style="font-size: x-small;">http://www.asjournal.org/62-2017/cli-fi-american-studies-research-bibliography/</span></a></div>
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Over the last two decades, the global landscape of cultural production has been teeming with a cornucopia of fictional texts, in print, in live performance, and on the screen, engaging with the local and global impact of advanced human-induced climate change. In academia as well as in popular culture, this rapidly growing body of texts is now commonly referred to by <a href="http://cli-fi.net/">the catchy linguistic portmanteau ‘cli-fi.’</a><br />
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That cli-fi has transitioned from a subcultural colloquialism circulating around the blogosphere into both a cultural buzzword and staple academic term alike can be seen, to name but a few examples from a long list, by its recent addition to the <em>Oxford Dictionaries</em>, its appearance in numerous academic conferences and publications, the emergence of: </div>
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<span style="font-size: large;">1. the first how-to manuals such as Ellen B. Szabo’s <em>Saving the World One Word at a Time: Writing Cli-Fi</em> (2015),</span></div>
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<span style="font-size: large;">2. the establishment of Amy Brady’s monthly column, “Burning Worlds,” examining cli-fi in the <em>Chicago Review of Books</em>, </span></div>
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<span style="font-size: large;">3. and the increasing inclusion of cli-fi as a label in award classifications and marketing endeavors.</span></div>
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Despite the wealth of cli-fi primary texts across all media, there has not yet been a comprehensive compilation of secondary sources facilitating the engagement with cli-fi in the environmental humanities. </div>
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Our research bibliography aims to close this gap by providing an extensive, albeit necessarily fragmented and incomplete, pool of resources for scholars, educators, and the interested members of the public. This list extends from journalistic considerations of cli-fi texts and of the term itself to academic scholarship theorizing the generic and disciplinary implications of cli-fi for research and teaching, capturing the heterogeneity, productivity, and heteroglossia in the field. It is meant to provide a stepping stone into cli-fi’s diverse, at times hotly debated, conceptual trajectories, disciplinary appropriations, and ideological underpinnings. </div>
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Up to now, there is no general agreement on how cli-fi is defined, and the same pertains to its conceptual frameworks, methodological approaches, and theories. </div>
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Variously understood as merely an abbreviation for climate fiction, its own standalone literary and/or cultural genre, a subfield of science fiction, or a comprehensive concept for assessing the cultural production in the Anthropocene (to name but very few of the many current designations), cli-fi thus provides a momentum, instigating the (re)visitation of fundamental disciplinary questions—some of them novel, some of them long-established and intimately familiar, as we and our contributors discuss at greater length in regard to American Studies elsewhere (see Leikam and Leyda).</div>
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As one of the most prolific generators, disseminators, and adaptors of literary and cultural texts, North America participates at the forefront in the recent spate of cli-fi. Even more importantly for American Studies, as one of the key fossil-fuel consumers with global political influence, North America, particularly the United States, features prominently in cli-fi narratives. To date, the Trump administration’s decidedly anti-environmentalist agenda, especially its stated intention to withdraw from the Paris Climate Accord, is further fueling the production of cli-fi and intensifying the scholarly and public attention paid to these texts. The next few years will certainly provide scholars and students in American Studies and related disciplines with rich ground for new research and classroom debate, calling for an even more rigorous scrutiny of the multiple contact points and interlockings between cli-fi and American Studies. As more scholars take up the topic in their work and as greater numbers of students enroll in courses centering on climate change, it is our intent to aid these endeavors in academic research, pedagogy, and outreach projects through the compilation of this secondary source bibliography of cli-fi.</div>
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<span style="font-size: x-large;">Bibliography</span></h4>
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<em>This bibliography complements Susanne Leikam and Julia Leyda, eds. “‘What’s in a Name?’: Cli-Fi and American Studies.” Extended forum of </em>Amerikastudien/American Studies<em> 62.1 (2017): 109–38.</em><br />
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Adamson, Morgan. “Anthropocene Realism.” <a href="https://thenewinquiry.com/anthropocene-realism/"><em>New Inquiry</em></a> 30 Nov. 2015. Web.<br />
Ahuja, Neel. “Intimate Atmospheres: Queer Theory in a Time of Extinctions.” <em>GLQ: A Journal of Lesbian and Gay Studies</em> 21.2–3 (2015): 365–85. Print. <br />
Alaimo, Stacy. <em>Bodily Natures: Science, Environment, and the Material Self</em>. Bloomington: Indiana UP, 2010. Print.<br />
Anderson, Alison. <em>Media, Culture, and the Environment.</em> London: Routledge, 1997. Print.<br />
Arnold, Gordon B. <em>Projecting the End of the American Dream: Hollywood’s Visions of U.S.</em> <em>Decline</em>. Oxford: Praeger, 2013. Print.<br />
<span style="color: red;">Atwood, Margaret. <em>In Other Worlds: SF and the Human Imagination. </em>New York: Doubleday, 2011. Print.</span><br />
<span style="color: red;">—. “It’s Not Climate Change: It’s Everything Change.” </span><a href="https://medium.com/matter/it-s-not-climate-change-it-s-everything-change-8fd9aa671804"><em><span style="color: red;">Matter </span></em></a><span style="color: red;">27 July 2015. Web</span>.<br />
<span style="background-color: lime;">Bacigalupi, Paolo. Foreword. <em>Loosed Upon the World: The Saga Anthology of Climate Fiction</em>. Ed. John Joseph Adams. New York: Saga, 2015. xiii–xvii. Print.</span><br />
Bales, Kevin. <em>Blood and Earth: Modern Slavery, Ecocide, and the Secret to Saving the World</em>. New York: Random, 2016. Print.<br />
Barrett, Ross, and Daniel Worden, eds. <em>Oil Culture</em>. Minneapolis: U of Minnesota P, 2014. Print.<br />
Baucom, Ian. “‘Moving Centers’: Climate Change, Critical Method, and the Historical Novel.” <em>Modern Language Quarterly</em> 76.2 (2015): 137–57. Print.<br />
Beck, Ulrich. <em>World at Risk</em>. 2007. Trans. Ciaran Cronin. Cambridge: Polity, 2009. Print.<br />
Bergthaller, Hannes. “On the Margins of Ecocriticism: A European Perspective.” <em>Literatur und Ökologie: Neue literatur- und kulturwissenschaftliche Perspektiven</em>. Ed. Claudia Schmitt and Christiane Solte-Gresser. Bielefeld: Aisthesis, 2017. 55–64. Print.<br />
<span style="color: red;">Bloom, Dan. Introduction. </span><a href="http://cli-fi.net/index.html"><em><span style="color: red;">The Cli-Fi Report from Taiwan</span></em></a><span style="color: red;"> 2017. Web.</span><br />
—. “To Fight Climate Change, We Need Better Movies.” <a href="https://theouttake.net/to-fight-climate-change-we-need-better-movies-4bac3c173958"><em>Outtake </em></a>29 July 2015. Web.<br />
Bonneuil, Christophe, and Jean-Baptiste Fressoz. <em>The Shock of the Anthropocene: The Earth, History, and Us</em>. London: Verso, 2016. Print.<br />
Boykoff, Maxwell T. “Lost in Translation: United States Television News Coverage of Anthropogenic Climate Change, 1995–2004.” <em>Climatic Change</em> 86 (2008): 1–11. Print.<br />
Bradley, James. “The End of Nature and Post-Naturalism: Fiction and the Anthropocene.” Blog post. <a href="https://cityoftongues.com/2015/12/30/the-end-of-nature-and-post-naturalism-fiction-and-the-anthropocene/"><em>City of Tongues</em></a> 30 Dec. 2015. Web.<br />
<span style="color: lime;">Brady, Amy. “Burning Worlds.” Monthly column. </span><a href="https://chireviewofbooks.com/category/burning-worlds/"><em><span style="color: lime;">Chicago Review of Books</span></em></a><span style="color: lime;"> Feb. 2017. Web.</span><br />
Brauch, Hans Günther. <em>Coping with Global Environmental Change, Disasters and</em> <em>Security</em>. Berlin: Springer, 2011. Print.<br />
Brereton, Pat. <em>Environmental Ethics and Film</em>. New York: Routledge, 2015. Print.<br />
—. <em>Hollywood Utopia: Ecology in Contemporary American Cinema</em>. London: Intellect, 2004. Print.<br />
Bulfin, Ailise. “Popular Culture and the ‘New Human Condition’: Catastrophe Narratives and Climate Change.” <a href="http://www.sciencedirect.com/science/article/pii/S0921818116303307"><em>Global and Planetary Change </em></a>2017. Web.<br />
Button, Gregory. <em>Disaster Culture: Knowledge and Uncertainty in the Wake of Human and Environmental Catastrophe</em>. Walnut Creek, CA: Left Coast P, 2010. Print.<br />
—. <em>Everyday Disasters: Rethinking Iconic Events in Cultural Perspective</em>. Walnut Creek, CA: Left Coast P, 2014. Print.<br />
Canavan, Gerry, and Kim Stanley Robinson, eds. <em>Green Planets: Ecology and Science Fiction.</em> Middletown, CT: Wesleyan, 2014. Print.<br />
Carruth, Allison, and Robert P. Marzec. “Environmental Visualization in the Anthropocene: Technologies, Aesthetics, Ethics.” <em>Public Culture</em> 26.2 (2014): 205–11. Print.<br />
Chakrabarty, Dipesh. “The Climate of History: Four Theses.” <em>Critical Inquiry</em> 35.2 (2009): 197–222. Print.<br />
—. “Postcolonial Studies and the Challenge of Climate Change.” <em>New Literary History</em> 43.1 (2012): 1–18. Print.<br />
Clark, Timothy. <em>Ecocriticism on the Edge: The Anthropocene as a Threshold Concept</em>. London: Bloomsbury, 2015. Print.<br />
Clarke, Michael Tavel, Faye Halpern, and Timothy Clark. “Climate Change, Scale, and Literary Criticism: A Conversation.” <em>Ariel</em> 46.3 (2015): 1–22. Print.<br />
Cohen, Tom, ed. <a href="http://www.openhumanitiespress.org/books/titles/telemorphosis/"><em>Telemorphosis: Theory in the Era of Climate Change</em></a>. Vol. 1. Ann Arbor, MI: Open Humanities P, 2012. Web. <br />
Cubitt, Sean. <em>EcoMedia</em>. Amsterdam: Rodopi, 2005. Print.<br />
—. “Ecomedia Futures.” <em>International Journal of Media and Cultural Politics</em> 10.2 (2014): 163–70. Print.<br />
Cullen, Heidi. “Personal Stories about Global Warming Change Minds.” Room for Debate Blog. <a href="https://www.nytimes.com/roomfordebate/2014/07/29/will-fiction-influence-how-we-react-to-climate-change/personal-stories-about-global-warming-change-minds"><em>New York Times </em></a>30 July 2014. Web.<br />
Cumming, Torr, and Anne Gjelsvik. “Icebreakers: Visionary Men and the Visualization of Climate Change.” <a href="https://www.idunn.no/ekfrase/2016/01-02/icebreakers_-_visionary_men_and_the_visualization_ofclimat"><em>Ekfrase: Nordic Journal for Visual Culture </em></a>6.1–2 (2016): 21–37. Web.<br />
Danielewitz, Christian, and Peter Ole Pedersen. “Documenting the Invisible.” <a href="https://www.idunn.no/ekfrase/2016/01-02/icebreakers_-_visionary_men_and_the_visualization_ofclimat"><em>Ekfrase: Nordic Journal for Visual Culture</em></a> 6.1–2 (2016): 10–20. Web.<br />
Dixon, Wheeler Winston. <em>Visions of the Apocalypse: Spectacles of Destruction in American Cinema</em>. London: Wallflower, 2003. Print.<br />
Dwyer, Jim. <em>Where the Wild Books Are: A Field Guide to Ecofiction</em>. Reno: U of Nevada P, 2010. Print.<br />
Emmett, Robert, and Frank Zelko, eds. “Minding the Gap: Working across Disciplines in Environmental Studies.” Spec. issue of <a href="http://www.environmentandsociety.org/perspectives/2014/2/minding-gap-working-across-disciplines-environmental-studies"><em>RCC Perspectives</em></a> (2014). Web.<br />
Ereaut, Gill, and Nat Segnit. “Warm Words: How Are We Telling the Climate Story and Can We Tell It Better?” <a href="http://www.ippr.org/publications/warm-wordshow-are-we-telling-the-climate-story-and-can-we-tell-it-better">Institute for Public Policy Research</a> 3 Aug. 2006. Web.<br />
Evancie, Angela. “So Hot Right Now: Has Climate Change Created a New Literary Genre?” <a href="http://www.npr.org/2013/04/20/176713022/so-hot-right-now-has-climate-change-created-a-new-literary-genre"><em>NPR Books</em></a> 20 Apr. 2013. Web.<br />
Farnsworth, Stephen, and S. Robert Lichter. “Scientific Assessments of Climate Change Information in News and Entertainment Media.” <em>Science Communication</em> 34.4 (2012): 435–59. Print.<br />
Fernandes, Rio. “A Subfield Changes the Landscape of Literary Studies.” <em>Chronicle of Higher Education</em>. 1 Apr. 2016: A18(2). Print.<br />
Finn, Ed. “Imagining Climate: How Science Fiction Holds up a Mirror to Our Future.” <a href="https://medium.com/@zonal/imagining-climate-40d8f20d62f"><em>Matter </em></a>27 July 2015. Web.<br />
Fleming, James Rodger. <em>Fixing the Sky: The Checkered History of Weather and Climate Control</em>. New York: Columbia UP, 2010. Print.<br />
Flynn, Adam. “Solarpunk: Notes Toward a Manifesto.” <em><a href="https://medium.com/@zonal/imagining-climate-40d8f20d62f">Hieroglyph</a></em> 4 Sept. 2014. Web.<br />
Forrest, Bethan. “Cli-Fi: Climate Change Fiction as Literature’s New Frontier?” <em><a href="http://www.huffingtonpost.co.uk/bethan-forrest/climate-change-fiction_b_7847182.html">Huffington Post</a></em> 23 July 2015. Web.<br />
Gaard, Greta. “From Cli-Fi to Critical Ecofeminism: Narratives of Climate Change and Climate Justice.” <em>Contemporary Perspectives on Ecofeminism</em>. Ed. Mary Phillips and Nick Rumens. New York: Routledge, 2015. 169–92. Print.<br />
Gerhardt, Christine. “Beyond Climate Refugees: Nature, Risk and Migration in American Poetry.” Mayer and Weik von Mossner, <em>The Anticipation of Catastrophe</em> 139–59. Print.<br />
—, and Christa Grewe-Volpp, eds. “Environmental Imaginaries on the Move: Nature and Mobility in American Literature and Culture.” Spec. issue of <em>Amerikastudien/American Studies</em> 61.4 (2016). Print.<br />
Gerrard, Greg, ed. <em>Teaching Ecocriticsm and Green Cultural Studies</em>. Basingstoke: Palgrave-Macmillan, 2012. Print.<br />
Ghosh, Amitav. <em>The Great Derangement: Climate Change and the Unthinkable</em>. Chicago: U of Chicago P, 2016. Print.<br />
Glass, Rodge. “Global Warning: The Rise of ‘Cli-Fi.’” <a href="https://www.theguardian.com/books/2013/may/31/global-warning-rise-cli-fi"><em>Guardian</em></a> 31 May 2013. Web.<br />
Goodbody, Axel. “Risk, Denial and Narrative Form in Climate Change Fiction: Barbara Kingsolver’s <em>Flight Behavior </em>and Ilija Trojanow’s <em>Melting Ice</em>.” Mayer and Weik von Mossner, <em>The Anticipation of Catastrophe</em> 59-58. Print.<br />
Grusin, Richard, ed. <em>The Nonhuman Turn</em>. Minneapolis: U of Minnesota P, 2015. Print.<br />
Heise, Ursula K. “Plasmatic Nature: Environmentalism and Animated Film.” <em>Public Culture</em> 26.2 (2014): 301–18. Print.<br />
—. <em>Sense of Place and Sense of Planet: The Environmental Imagination of the Global</em>. Oxford: Oxford UP, 2008. Print.<br />
—. “Terraforming for Urbanists.” <em>Land and the Novel</em>. Spec. issue of <em>Novel: A Forum for Fiction</em> 49.1 (2016): 10–25. Print.<br />
Heer, Jeet. “Farewell to Dystopian Lit, Here Come the New Utopians.” <a href="https://newrepublic.com/article/123217/new-utopians"><em>New Republic </em></a>10 Nov. 2015. Web.<br />
Hitchcock, Peter. “Oil in an American Imaginary.” <em>New Formations</em> 69 (2010): 81–97. Print.<br />
Holthaus, Eric. “Hollywood is Finally Taking on Climate Change: It Should Go Even Further.” <a href="http://www.slate.com/blogs/future_tense/2016/08/09/leonardo_dicaprio_speech_is_the_most_influential_ever_on_climate_change.html"><em>Slate</em></a> 9 Aug. 2016. Web.<br />
Houser, Heather. “The Aesthetics of Environmental Visualizations: More Than Information Ecstasy?” <em>Public Culture</em> 26.2 (2014): 319–37. Print.<br />
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Authors</h4>
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<strong>Susanne Leikam</strong> is assistant professor of American Studies in the American Studies Department at the University of Regensburg, Germany. She currently conducts research in the fields of visual culture studies, disaster studies, environmental justice studies, and ecocriticism. Publications include her Ph.D. dissertation <em>Framing Spaces in Motion: Tracing Visualizations of Earthquakes into Twentieth-Century San Francisco </em>(2015) and the special issue of <em>Amerikastudien/American Studies</em> titled <em>Iconographies of the Calamitous in American Visual Culture</em> (2013). Her most recent article is “Extreme Weather and Masculinity/ies in Contemporary American Popular Cultures” (<em>Rachel Carson Center Perspectives </em>2017).<br />
<strong>Julia Leyda</strong> is Associate Professor of Film Studies in the Faculty of Art and Media Studies at the Norwegian University of Science and Technology in Trondheim and Senior Research Fellow at the Graduate School for North American Studies at the John F. Kennedy Institute at the Freie Universität Berlin. She is the author of <em>American Mobilities: Class, Race, and Gender in US Culture</em> (2016). Julia Leyda has edited or co-edited several books, including <em>Todd Haynes: Interviews</em> (2014) and <em>Extreme Weather and Global Media </em>(with Diane Negra, 2015). Her current book projects center on the financialization of domestic space in 21<sup>st</sup>-century US screen culture and climate change narratives in fiction, film, and television.</div>
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Suggested Citation</h4>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-83334744500074850772017-10-08T21:03:00.001-07:002017-10-08T21:03:20.536-07:00Zimbabwe newspaper "fake news" clickbait? ''Zimbabwean-born British novelist Ishiguro wins Nobel Literature Prize'' https://thefutureofreading101.blogspot.tw/2017/10/the-zimbabwe-mail-newspaper-fakes.htmlZimbabwe newspaper "fake news" clickbait? ''Zimbabwean-born British novelist Ishiguro wins Nobel Literature Prize'' <a href="https://thefutureofreading101.blogspot.tw/2017/10/the-zimbabwe-mail-newspaper-fakes.html">https://thefutureofreading101.blogspot.tw/2017/10/the-zimbabwe-mail-newspaper-fakes.html</a><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-54575830569499620222017-10-08T20:54:00.001-07:002017-10-08T20:54:35.033-07:00The Zimbabwe Mail newspaper fakes a headline to get more traffic to its site? ''Zimbabwean-born British novelist Ishiguro wins Nobel Literature Prize''<div class="ts _JGs _KHs _oGs _KGs _jHs">
<a class="top _xGs _SHs" href="http://www.thezimbabwemail.com/book-review/zimbabwean-born-british-novelist-ishiguro-wins-nobel-literature-prize/"><img alt="關於「climate fiction novels」的報導圖片 (來源:The Zimbabwe Mail)" class="th _RGs" id="news-thumbnail-image-52779629498706" src="data:image/jpeg;base64,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" /></a><div class="_hJs">
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<a class="l _PMs" href="http://www.thezimbabwemail.com/book-review/zimbabwean-born-british-novelist-ishiguro-wins-nobel-literature-prize/"><span style="color: #1a0dab;">Zimbabwean-born British </span><em><span style="color: #dd4b39;">novelist</span></em><span style="color: #1a0dab;"> Ishiguro wins Nobel Literature Prize</span></a></h3>
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<span class="_OHs _PHs">The Zimbabwe Mail</span><span class="_QGs">-</span><span class="f nsa _QHs"><span style="color: #666666;">2017年10月7日</span></span></div>
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<span class="f nsa _QHs"><span style="color: #666666;">This headline was posted and is still available on Google News if you type in search window for Google News from "Climate Fiction Novels" and scroll down a bit to find it. I love it!</span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-53894951959063589912017-10-08T20:32:00.001-07:002017-10-08T20:32:02.786-07:00There are two Chinas: one is the free, democratic nation of Taiwan; the other is the mindcontrolled dictatorship of Communist China. Go figure!A well-known poet and essayist in Taiwan, Mr Min-yung Lee, often writes opeds in the major Chinese-language newspapers in Taiwan, with the <a data-mce-href="http://www.ltn.com.tw/" href="http://www.ltn.com.tw/">Liberty Times </a>daily paper being his most popular platform. I've been following his work for years and now his columns are reprinted in English in the <a data-mce-href="http://www.taipeitimes.com" href="http://www.taipeitimes.com/">Taipei Times </a>newspaper, the sister publication of the Liberty Times.<br />
Expert translators do the translations and the final product in English is important to share worldwide, so that the rest of the world learns the truth about Taiwan.<br />
Taiwan is not part of Communist China, and never was and never will be. It is an independent, sovereign nation 100 or so miles off the coast of Communist China. For Taiwan's 23 million people, Taiwan is home, Taiwan is their nation.<br />
In a recent oped in English in the Taipei Times, Mr. Lee explained to international readers some of the details of Taiwan's long and complicated history.<br />
''Taiwan’s modern and contemporary history dates from more than a century ago," Lee wrote. "During the early period between 1895 and 1945, it was subject to Japanization. The middle period from 1945 to 1995 was one of sinicization, and the late period, since 1995, has seen an unfinished process of Taiwanization."<br />
He added: "Starting from the nation’s native inhabitants, the Aborigines, Taiwan has passed through various stages, including Dutch colonization, followed by the Kingdom of Tungning founded by Cheng Cheng-kung better known as Koxinga, and then by the Qing Dynasty. In the process, it has formed a cultural profile that is different from China’s and manifests itself in daily life.''<br />
For most people in the world, Taiwan remains ''an invisible island'' in some alternate sci-fi universe, and sadly most nations in the international community have cosied up to Communist China's propaganda and say along with brainwashed and mindcontrolled Beijing that there is only ''one China.'' But in fact, there are two Chinas: one is the brutal and dark Communist China, and the other is the free, sovereign, democratic Taiwan. Taiwan is not part of China and never was and never will be.<br />
Just today, <a data-mce-href="http://www.taipeitimes.com/News/taiwan/archives/2017/10/09/2003680011" href="http://www.taipeitimes.com/News/taiwan/archives/2017/10/09/2003680011">the Taipei Times published a news story </a>that goes into some of this confusion here, that echoes the oped that Mr Lee wrote.<br />
If you want to know more about the real history of Taiwan and the real propaganda of Communist China's dictatorship, read the news article <a data-mce-href="http://www.taipeitimes.com/News/taiwan/archives/2017/10/09/2003680011" href="http://www.taipeitimes.com/News/taiwan/archives/2017/10/09/2003680011">here </a>and the very good oped by Mr Lee as well at the link below in the last sentence.<br />
And if you have any questions or comments about all this, please feel free to use the comment box below this article to make your opinions heard. All views are welcome on my blog.<br />
To read the entire Lee oped essay, see <a data-mce-href="http://www.taipeitimes.com/News/editorials/archives/2017/10/06/2003679800" href="http://www.taipeitimes.com/News/editorials/archives/2017/10/06/2003679800">the Taipei Times link here</a>.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-59212946481939750082017-10-08T20:00:00.000-07:002017-10-08T20:00:13.933-07:00Wettermorphose - Allgemeiner gesprochen: Es gibt mittlerweile haufenweise "Cli-fi"-Szenarios, apokalyptische Totalkatastrophen, Auslöschung in Cinemascope. <div class="resized">
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BIO:<em> <span style="color: red;">Alex Rühle wurde 1969</span> geboren und wuchs in den Isarauen auf, wo er eines Tages Andreas Zielcke über den Weg lief. Der nahm ihn mit zur SZ, wo Rühle seither Junge für alles ist. Wenn er nicht im Büro ist, sitzt er entweder auf seinem Fahrrad, spielt was von Bach oder schaut seinen Kindern beim Großwerden zu.</em></div>
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Sandy zum Beispiel. Der Hurrikan, der <span class="nowrap">2012</span> große Gebiete New Yorks unter Wasser setzte, darunter Chelsea, einen Stadtteil, in dem jeder zweite Bewohner Künstler, Filmemacher oder Schriftsteller ist. Viele von ihnen wurden schwer getroffen von der Sturmflut, Ateliers versanken, Wohnungen wurden wertlos. Aber hat auch nur einer von ihnen über die konkreten Auswirkungen einen Film gedreht, einen Roman geschrieben, eine Bilderserie gemacht? Nichts dergleichen. <span style="color: red;">Allgemeiner gesprochen: Es gibt mittlerweile haufenweise "Cli-fi"-Szenarios, apokalyptische Totalkatastrophen, Auslöschung in Cinemascope.</span> Aber kaum etwas über das, was konkret vor unser aller Augen passiert. Oder wie der indische Schriftsteller Amitav Gosh es ausdrückt: "Es wurden unzählige Romane geschrieben und Filme gedreht über den möglichen Totaluntergang New Yorks. Aber es gibt kein einziges Werk über seinen tatsächlichen Untergang."</div>
Gosh hat soeben ein Buch in Essayform über dieses rätselhafte Vakuum geschrieben. "The Great Derangement" dreht sich um die Frage, warum die Künste den Klimawandel bislang kaum bearbeiten. "Spätere Generationen", so schreibt er, "werden zu dem Urteil kommen, dass in unserer Zeit die Künste allesamt nur noch dazu dienen, die Wirklichkeit zu verschleiern und abzumildern. Diese Epoche, die so unglaublich stolz ist auf ihre Selbsterkenntnis, wird eines Tages als die Epoche der großen Umnachtung gelten."<br />
Vielleicht sollte man Gosh ein Ticket nach Bonn kaufen. Für die dortige Bundeskunsthalle. In der Ausstellung "Wetterbericht. Über Wetterkultur und Klimawissenschaft" wird nämlich der Versuch unternommen, <a class="themelink" data-pagetype="THEME" href="http://www.sueddeutsche.de/thema/Kunst">Kunst</a> und Wetter, Kultur und Klimaforschung miteinander in Beziehung zu setzen. Die Kuratoren Stephan Andreae und Ralf Burmester lassen die Besucher einen Tag durchschreiten, von der Morgendämmerung bis in die Nacht und teilen die verschiedenen Wetterphänomene - Sturm, Regen, Wolken - unterschiedlichen Tageszeiten zu, was so simpel wie stimmig ist, schließlich hängen Wetter und Zeit untrennbar miteinander zusammen, ja in vielen Sprachen verschmelzen die chronologische Zeit und das atmosphärische Wetter zu ein und demselben Wort, man denke an das französische "temps" oder das italienische "tiempo".<br />
Nun ist Wetter das, was wir täglich erleben, während sich Klimazustände erst aus mehreren Jahrzehnten Wetterdaten ablesen lassen. So geht es hier immer zugleich um das Große Ganze und den kleinen Schauer, den örtlichen Sturm und die globale Erwärmung. Und es geht zugleich darum, wissenschaftliche Entdeckungen und Kunstwerke einander spiegeln zu lassen. Wie bedingen Klima und Kultur einander? Was wissen wir über das Wetter? Seit wann? Und wie wurden die jeweiligen Entdeckungen in der Kunst verarbeitet?<br />
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<span id="result_box" lang="en"><span style="color: blue;"><span title="Sandy zum Beispiel.">Sandy, for example. </span><span title="Der Hurrikan, der 2012 große Gebiete New Yorks unter Wasser setzte, darunter Chelsea, einen Stadtteil, in dem jeder zweite Bewohner Künstler, Filmemacher oder Schriftsteller ist.">The Hurricane, which put 2012 large areas of New York under water, including Chelsea, a district where every second resident is an artist, filmmaker or writer. </span><span title="Viele von ihnen wurden schwer getroffen von der Sturmflut, Ateliers versanken, Wohnungen wurden wertlos.">Many of them were hit hard by the storm surge, studios sank, dwellings became worthless. </span><span title="Aber hat auch nur einer von ihnen über die konkreten Auswirkungen einen Film gedreht, einen Roman geschrieben, eine Bilderserie gemacht?">And yes, a few writers have made a film about the concrete impact, written a novel, made a picture series, yes, contrary to what Ghosh, who did not do his homework, says. </span><span title="Nichts dergleichen.">So there is some of that. See <a href="http://cli-fi.net/">cli-fi.net</a></span><span title="Allgemeiner gesprochen: Es gibt mittlerweile haufenweise "Cli-fi"-Szenarios, apokalyptische Totalkatastrophen, Auslöschung in Cinemascope."></span></span></span><br />
<span lang="en"><span style="color: blue;"><span title="Allgemeiner gesprochen: Es gibt mittlerweile haufenweise "Cli-fi"-Szenarios, apokalyptische Totalkatastrophen, Auslöschung in Cinemascope."><br /></span></span></span><br />
<span lang="en"><span style="color: blue;"><span title="Allgemeiner gesprochen: Es gibt mittlerweile haufenweise "Cli-fi"-Szenarios, apokalyptische Totalkatastrophen, Auslöschung in Cinemascope.">More generally, there are now <a href="http://korgw101.blogspot.com/">cli-fi scenarios, apocalyptic total catastrophes, extinction in cinemascope.</a> </span><span title="Aber kaum etwas über das, was konkret vor unser aller Augen passiert.">But hardly anything about what actually happens before our eyes. </span></span><span style="color: blue;"><span title="Oder wie der indische Schriftsteller Amitav Gosh es ausdrückt: "Es wurden unzählige Romane geschrieben und Filme gedreht über den möglichen Totaluntergang New Yorks. Aber es gibt kein einziges Werk über seinen tatsächlichen Untergang."
">Or, as the Indian writer Amitav Gosh puts it: "There have been countless novels written and films shot about the possible sunset of New York, but there is not a single work about its actual downfall." But Ghosh who did not do his homework is wrong. See for example Nathaniel Rich's ODDS AGAINST TOMORROW and Kim Stanley Robinson's NEW YORK 2140.<br /></span><span title="Gosh hat soeben ein Buch in Essayform über dieses rätselhafte Vakuum geschrieben.">Gosh has written a book "</span><span title=""The Great Derangement" dreht sich um die Frage, warum die Künste den Klimawandel bislang kaum bearbeiten.">The Great Derangement" that revolves around calling for the arts to work harder on writing and movies on climate change. That's why cli-fi was coined. </span><span title=""Spätere Generationen", so schreibt er, "werden zu dem Urteil kommen, dass in unserer Zeit die Künste allesamt nur noch dazu dienen, die Wirklichkeit zu verschleiern und abzumildern. Diese Epoche, die so unglaublich stolz ist auf ihre Selbsterkenntnis, wird eines Tages">"Later generations," he writes, "will come to the conclusion that in our time the arts are all about disguising and lessening reality. This era, which is so incredibly proud of its self-knowledge, will one day </span></span><span style="color: blue;"><span title="als die Epoche der großen Umnachtung gelten."
">as the epoch of great disrespect, if we do not write more cli-fi now as soon as possible."<br /></span><span title="Vielleicht sollte man Gosh ein Ticket nach Bonn kaufen.">Maybe you should buy Gosh a ticket to Bonn. Good idea! Maybe he will wake up to all this. </span><span title="Für die dortige Bundeskunsthalle.">For the Federal Art Hall there. </span><span title="In der Ausstellung "Wetterbericht. Über Wetterkultur und Klimawissenschaft" wird nämlich der Versuch unternommen, Kunst und Wetter, Kultur und Klimaforschung miteinander in Beziehung zu setzen.">In the exhibition "Weather Report on Weather Culture and Climate Science" an attempt is made to relate art and weather, culture and climate research. </span><span title="Die Kuratoren Stephan Andreae und Ralf Burmester lassen die Besucher einen Tag durchschreiten, von der Morgendämmerung bis in die Nacht und teilen die verschiedenen Wetterphänomene - Sturm, Regen, Wolken - unterschiedlichen Tageszeiten zu, was so simpel wie stimmig ist, schließlich hängen Wetter und Zeit untrennbar">The curators Stephan Andreae and Ralf Burmester let the visitors walk through one day, from the dawn to the night, and share the different weather phenomena - storm, rain, clouds - different times of the day, which is as simple as it is harmonious </span></span><span style="color: blue;"><span title="miteinander zusammen, ja in vielen Sprachen verschmelzen die chronologische Zeit und das atmosphärische Wetter zu ein und demselben Wort, man denke an das französische "temps" oder das italienische "tiempo".
">together, and in many languages, the chronological time and the atmospheric weather merge into the same word, think of the French "temps" or the Italian "tiempo".<br /></span><span title="Nun ist Wetter das, was wir täglich erleben, während sich Klimazustände erst aus mehreren Jahrzehnten Wetterdaten ablesen lassen.">Now weather is what we experience every day, while climatic conditions can only be seen from several decades of weather data. </span><span title="So geht es hier immer zugleich um das Große Ganze und den kleinen Schauer, den örtlichen Sturm und die globale Erwärmung.">This is always the case at the same time around the big picture and the small showers, the local storm and the global warming. </span><span title="Und es geht zugleich darum, wissenschaftliche Entdeckungen und Kunstwerke einander spiegeln zu lassen.">At the same time, it is a question of making scientific discoveries and works of art mirror each other. </span><span title="Wie bedingen Klima und Kultur einander?">How do climate and culture require each other? </span><span title="Was wissen wir über das Wetter?">What do we know about the weather? </span><span title="Seit wann?">Since when? </span><span title="Und wie wurden die jeweiligen Entdeckungen in der Kunst verarbeitet?">And how were the respective discoveries processed in art?</span></span></span><br />
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Ein Beispiel: Wolken waren in der Geschichte der Menschheit immer nur Wolken. Selbst die klassifizierungswütigen Europäer hatten nie daran gedacht, all diese Haufen und Schlieren am Himmel genauer zu untersuchen, zu flüchtig waren sie in ihrer Erscheinung, Wettamorphose in Reinkultur. Bis sich der Engländer Luke Howard vor den Toren Londons ins Gras legte. Der schweigsame Einzelgänger schaute jahrelang den Wolken beim Ziehen zu. <span class="nowrap">1802</span> hielt der völlig unbekannte Apotheker dann vor der Askesian Society in London seinen bahnbrechenden Vortrag "On the modification of clouds", indem er die Wolken in unterschiedliche Kategorien einteilte. In Anlehnung an Carl von Linnés Systematisierung der Pflanzen- und Tierwelt wählte Howard lateinische Bezeichnungen für seine Wolkentypen, seither schweben Cirrus-, Cumulus- und Stratuswolken durch die Welt.<br />
Die Bundeskunsthalle zeigt Howards Skizzen, luftig-zarte und dabei sehr akkurate Aquarelle, die aber so leise wirken wie die auf ihnen abgebildeten Wolken. Ihnen gegenüber hängen Gemälde von John Constable, wuchtige Landschaftsbilder, hochdramatisches Wolkengequirl über scharf ausgeleuchteten Hügellandschaften. Constables Bilder sind direkte Antworten auf Howards Studien: Der Maler kannte dessen "Modification of clouds", seine Bilder wirken wie subjektive Antworten auf Howards kühle Feststellungen. Das wirkt in der Gegenüberstellung, als hätte Wagner mathematische Formeln vertont.<br />
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Hinter Constables aufgebauschten Dramen hängen Himmelsstudien des New Yorker Zeichners Saul Steinberg, die unsere öde, menschenzentrierte Perspektive radikal umdrehen: Jedes Mal steht da dasselbe schwarze Strichmännchen auf dem Boden des Bildes. Über ihm aber breitet sich ein immer anderer Himmel aus, mal kompakt, mal rosa zerfließend, mal dramatisch schwarz, mal lieblich blau. Was ist der Mensch schon gegen die Natur.<br />
Im Grunde will diese ganze <a class="themelink" data-pagetype="THEME" href="http://www.sueddeutsche.de/thema/Ausstellung">Ausstellung</a> den Blick so umdrehen: Wir Menschen sind nur zu Gast, winzige Wesen in einem großartigen Spektakel, dessen Zusammenhänge uns erst langsam und vielleicht zu spät klar werden. William Turners Atmosphärenbilder, die letzten Exponate in diesem Raum über Wolken, sind im Vergleich mit Constable und Steinberg von unglaublicher Farbintensität, flirrend, schlierig und verschwommen. Direkt daneben steht ein filigranes Messgerät für Aerosole, das angibt, wieviele Schwebeteilchen sich in einem Gas befinden. So wird angedeutet, welche unsichtbaren Ingredienzen durch viele Turnersche Sonnenuntergänge schweben: Der Ausbruch des Tambora auf der Insel Sumbawa im heutigen Indonesien <span class="nowrap">1815</span> führte in den darauffolgenden Jahren zu einem globalen Kälteeinbruch und zu spektakulären Sonnenuntergängen. Turner wusste nichts davon, als er seine rosalila Farbsalven komponierte.<br />
<h3>
"Mir bleibt nichts anderes übrig, als fest an die Möglichkeit zu glauben, dass wir eine komplette Destabilisierung des Klimas noch verhindern können." -- Hans Joachim Schellnhuber</h3>
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<strong><span style="font-size: large;"><span style="color: blue;"><span title=""Mir bleibt nichts anderes übrig, als fest an die Möglichkeit zu glauben, dass wir eine komplette Destabilisierung des Klimas noch verhindern können."">"I have no choice but to firmly believe in the possibility that we can still prevent a complete destabilization of the climate." -- </span><span title="Hans Joachim Schellnhuber">Hans Joachim Schellnhuber</span></span></span></strong><br />
<span style="color: blue;"><br /></span><br />
<span id="result_box" lang="en"><span style="color: blue;"><span title="Ein Beispiel: Wolken waren in der Geschichte der Menschheit immer nur Wolken.">For example, clouds were always clouds in the history of mankind. </span><span title="Selbst die klassifizierungswütigen Europäer hatten nie daran gedacht, all diese Haufen und Schlieren am Himmel genauer zu untersuchen, zu flüchtig waren sie in ihrer Erscheinung, Wettamorphose in Reinkultur.">Even the classifying Europeans had never thought of examining all these heaps and streaks in the sky, they were too fleeting in their appearance, betamorphosis in reink culture. </span><span title="Bis sich der Engländer Luke Howard vor den Toren Londons ins Gras legte.">Until the Englishman Luke Howard lay before the gates of London in the grass. </span><span title="Der schweigsame Einzelgänger schaute jahrelang den Wolken beim Ziehen zu.">The silent loner looked up at the clouds for years. </span><span title="1802 hielt der völlig unbekannte Apotheker dann vor der Askesian Society in London seinen bahnbrechenden Vortrag "On the modification of clouds", indem er die Wolken in unterschiedliche Kategorien einteilte.">In 1802, the completely unknown pharmacist held his groundbreaking lecture "On the modification of clouds" before the Askesian Society in London, dividing the clouds into different categories. </span></span><span style="color: blue;"><span title="In Anlehnung an Carl von Linnés Systematisierung der Pflanzen- und Tierwelt wählte Howard lateinische Bezeichnungen für seine Wolkentypen, seither schweben Cirrus-, Cumulus- und Stratuswolken durch die Welt.
">In accordance with Carl von Linné's systematization of the plant and animal world, Howard chose Latin names for his Wolk types, since then Cirrus, Cumulus and Stratuswolken hover throughout the world.<br /></span><span title="Die Bundeskunsthalle zeigt Howards Skizzen, luftig-zarte und dabei sehr akkurate Aquarelle, die aber so leise wirken wie die auf ihnen abgebildeten Wolken.">The Federal Art Gallery shows Howard's sketches, airy, delicate and very accurate watercolors, which, however, appear as soft as the clouds depicted on them. </span><span title="Ihnen gegenüber hängen Gemälde von John Constable, wuchtige Landschaftsbilder, hochdramatisches Wolkengequirl über scharf ausgeleuchteten Hügellandschaften.">Opposite you are paintings by John Constable, powerful landscape images, highly dramatic cloud whirling over sharp illuminated hillsides. </span><span title="Constables Bilder sind direkte Antworten auf Howards Studien: Der Maler kannte dessen "Modification of clouds", seine Bilder wirken wie subjektive Antworten auf Howards kühle Feststellungen.">Constable pictures are direct answers to Howard's studies: The painter knew his "Modification of clouds," his pictures seem like subjective answers to Howard's cool findings. </span></span><span style="color: blue;"><span title="Das wirkt in der Gegenüberstellung, als hätte Wagner mathematische Formeln vertont.
">This seems to be the opposite of Wagner's mathematical formulas.<br /><br /></span><span title="Hinter Constables aufgebauschten Dramen hängen Himmelsstudien des New Yorker Zeichners Saul Steinberg, die unsere öde, menschenzentrierte Perspektive radikal umdrehen: Jedes Mal steht da dasselbe schwarze Strichmännchen auf dem Boden des Bildes.">Behind Constable's exaggerated dramas hang sky studies by New York artist Saul Steinberg, who radically turn around our barren, human-centric perspective: every time there are black stick figures on the floor of the picture. </span><span title="Über ihm aber breitet sich ein immer anderer Himmel aus, mal kompakt, mal rosa zerfließend, mal dramatisch schwarz, mal lieblich blau.">Above it, however, an ever different sky spreads out, sometimes compact, sometimes pink, sometimes dramatically black, sometimes lovely blue. </span></span><span style="color: blue;"><span title="Was ist der Mensch schon gegen die Natur.
">What is man against Nature?<br /></span><span title="Im Grunde will diese ganze Ausstellung den Blick so umdrehen: Wir Menschen sind nur zu Gast, winzige Wesen in einem großartigen Spektakel, dessen Zusammenhänge uns erst langsam und vielleicht zu spät klar werden.">Basically, this whole exhibition wants to turn the view like this: We humans are only guests, tiny beings in a great spectacle whose connections are only slowly and perhaps too late. </span><span title="William Turners Atmosphärenbilder, die letzten Exponate in diesem Raum über Wolken, sind im Vergleich mit Constable und Steinberg von unglaublicher Farbintensität, flirrend, schlierig und verschwommen.">William Turner's atmospheric images, the last exhibits in this space above clouds, are incomparably colorful, fluttering, fuzzy and blurred compared to Constable and Steinberg. </span><span title="Direkt daneben steht ein filigranes Messgerät für Aerosole, das angibt, wieviele Schwebeteilchen sich in einem Gas befinden.">Directly beside it stands a filigree measuring device for aerosols, which indicates how many suspended particles are in a gas. </span><span title="So wird angedeutet, welche unsichtbaren Ingredienzen durch viele Turnersche Sonnenuntergänge schweben: Der Ausbruch des Tambora auf der Insel Sumbawa im heutigen Indonesien 1815 führte in den darauffolgenden Jahren zu einem globalen Kälteeinbruch und zu spektakulären Sonnenuntergängen.">In the following years, the eruption of the Tambora on the island of Sumbawa in Indonesia in 1815 led to a global cold collapse and spectacular sunsets. </span></span><span title="Turner wusste nichts davon, als er seine rosalila Farbsalven komponierte.
"><span style="color: blue;">Turner did not know about it when he composed his rosalila color albums.</span><br /></span></span><br />
Eine Vitrine erinnert an den Engländer Robert FitzRoy, den tragischen Erfinder der Wettervorhersage. Der Seemann und Wissenschaftler wurde nach einem Schiffsunglück <span class="nowrap">1861</span> mit dem Aufbau eines landesweiten Sturmwarnsystems beauftragt. Da er dafür aber nur auf Messdaten auf den britischen Inseln zurückgreifen konnte, ohne etwas über die Wetterverhältnisse auf dem Atlantik zu wissen, lag er so oft falsch und erntete soviel Spott, dass er in Depressionen verfiel und sich <span class="nowrap">1865</span> das Leben nahm. Geradezu tragisch liest sich in dem Zusammenhang das Interview im Katalog mit dem Klimaforscher Hans Joachim Schellnhuber, der auf die Eingangsfrage, ob er als Berater der Bundesregierung nicht oft verzweifle, salomonisch antwortet: "Mir bleibt nichts anderes übrig, als fest an die Möglichkeit zu glauben, dass wir eine komplette Destabilisierung des Klimas noch verhindern können." Er gibt der Menschheit eine Chance von <span class="nowrap">1:5</span>, dass sie das Schlimmste noch verhindert. FitzRoy wusste noch nichts über das Wetter, einer wie Schellnhuber weiß enorm viel über Klimazusammenhänge, trotzdem hört die Politik kaum wirklich zu.<br />
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Im November findet in Bonn die <span class="nowrap">23</span>. Weltklimakonferenz statt. Hoffentlich schauen viele der Teilnehmer in einer der Verhandlungspausen hier vorbei.<br />
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<b><i><b><i><b><i>Wetterbericht. Über Wetterkultur und Klimawissenschaft. Bundeskunsthalle Bonn, Bonn. Bis 4. März <span class="nowrap">2018</span>. Der Katalog kostet <span class="nowrap">45</span> Euro.</i></b></i></b></i></b><br />
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<span id="result_box" lang="en"><span title="Eine Vitrine erinnert an den Engländer Robert FitzRoy, den tragischen Erfinder der Wettervorhersage.">A<span style="color: blue;"> showcase reminiscent of the Englishman named Robert FitzRoy, the tragic inventor of the weather prediction. </span></span></span><br />
<span lang="en"><span title="Eine Vitrine erinnert an den Engländer Robert FitzRoy, den tragischen Erfinder der Wettervorhersage."><br /></span></span><br />
<span lang="en"><span title="Eine Vitrine erinnert an den Engländer Robert FitzRoy, den tragischen Erfinder der Wettervorhersage."></span><span style="color: blue;"><span title="Der Seemann und Wissenschaftler wurde nach einem Schiffsunglück 1861 mit dem Aufbau eines landesweiten Sturmwarnsystems beauftragt.">After a shipwreck in 1861, the sailor and scientist was commissioned to build a countrywide storm warning system. </span><span title="Da er dafür aber nur auf Messdaten auf den britischen Inseln zurückgreifen konnte, ohne etwas über die Wetterverhältnisse auf dem Atlantik zu wissen, lag er so oft falsch und erntete soviel Spott, dass er in Depressionen verfiel und sich 1865 das Leben nahm.">Since he was only able to make use of the data on the British Isles without knowing anything about the weather conditions on the Atlantic,<u> he was so often wrong that he got so much ridicule that he fell into depression and died in 1865.</u> </span><span title="Geradezu tragisch liest sich in dem Zusammenhang das Interview im Katalog mit dem Klimaforscher Hans Joachim Schellnhuber, der auf die Eingangsfrage, ob er als Berater der Bundesregierung nicht oft verzweifle, salomonisch antwortet: "Mir bleibt nichts anderes übrig, als fest an die Möglichkeit zu glauben"></span></span></span><br />
<span lang="en"><span style="color: blue;"><span title="Geradezu tragisch liest sich in dem Zusammenhang das Interview im Katalog mit dem Klimaforscher Hans Joachim Schellnhuber, der auf die Eingangsfrage, ob er als Berater der Bundesregierung nicht oft verzweifle, salomonisch antwortet: "Mir bleibt nichts anderes übrig, als fest an die Möglichkeit zu glauben"><br /></span></span></span><br />
<span lang="en"><span style="color: blue;"><span title="Geradezu tragisch liest sich in dem Zusammenhang das Interview im Katalog mit dem Klimaforscher Hans Joachim Schellnhuber, der auf die Eingangsfrage, ob er als Berater der Bundesregierung nicht oft verzweifle, salomonisch antwortet: "Mir bleibt nichts anderes übrig, als fest an die Möglichkeit zu glauben">The interview in the catalog with the climate researcher Hans Joachim Schellnhuber is particularly tragic, and he asks whether he, as an advisor to the Federal Government, often answers desperately, salomonically: <u>"I have no choice but to believe in the possibility </u></span><span title=", dass wir eine komplette Destabilisierung des Klimas noch verhindern können.""><u>that we can still prevent a complete destabilization of the climate. "</u> </span></span></span><br />
<span lang="en"><span style="color: blue;"><span title=", dass wir eine komplette Destabilisierung des Klimas noch verhindern können.""><br /></span></span></span><br />
<span lang="en"><span style="color: blue;"><span title=", dass wir eine komplette Destabilisierung des Klimas noch verhindern können.""></span><span title="Er gibt der Menschheit eine Chance von 1:5, dass sie das Schlimmste noch verhindert."><span style="font-size: large;">He gives mankind a chance of 1: 5 to prevent the worst. </span></span></span><span style="color: blue;"><span title="FitzRoy wusste noch nichts über das Wetter, einer wie Schellnhuber weiß enorm viel über Klimazusammenhänge, trotzdem hört die Politik kaum wirklich zu.
"><span style="font-size: large;">FitzRoy did not know anything about the weather, one like Schellnhuber knows a lot about the climate, but politicians hardly really listen.</span><br /><br /></span><span title="Im November findet in Bonn die 23. Weltklimakonferenz statt.">The 23rd World Climate Conference will take place in Bonn in November 2017. </span></span><span style="color: blue;"><span title="Hoffentlich schauen viele der Teilnehmer in einer der Verhandlungspausen hier vorbei.
">Hopefully, many of the participants will stop by at one of the negotiation breaks.<br /><br /><br /></span><span style="font-size: x-large;"><span title="Wetterbericht.">Weather. </span><span title="Über Wetterkultur und Klimawissenschaft.">About weather culture and climate science. </span><span title="Bundeskunsthalle Bonn, Bonn.">Bundeskunsthalle Bonn, Bonn, Germany. </span><span title="Bis 4. März 2018. Der Katalog kostet 45 Euro.">Until March 4, 2018. The catalog costs 45 euros.</span></span></span></span><span aria-hidden="true" class="trans-verified-button goog-toolbar-button" id="t-served-community-button" role="button" style="display: none;" unselectable="on"><span class="jfk-button-img" unselectable="on"></span></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-31630589427853401862017-10-07T20:59:00.000-07:002017-10-07T20:59:53.692-07:00''The Cli-Fi REport'' mirror site for cli-fi trends and news links ''The Cli-Fi REport'' mirror site for cli-fi trends and news links at <a href="https://danbloom.wixsite.com/website">https://danbloom.wixsite.com/website</a> Under construction. News tips links welcome.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-59431268814590455932017-10-07T20:29:00.000-07:002017-10-07T20:29:06.683-07:00Education in Taiwan must focus on the real history of Taiwan: an oped by Lee Min-yung in Taipei (translated from the Liberty Times into Engliish for the Taipei Times)A well-known poet and essayist in Taiwan, Mr Min-yung Lee, often writes opeds in the major Chinese-language newspapers in Taiwan, with the Liberty Times daily paper being his most popular platform. I've been following his work for years and now his columns are reprinted in English in the Taipei Times newspaper, the sister publication of the Liberty Times. Expert translators do the translations and the final product in English is important to share worldwide, so that the rest of the world learns the truth about Taiwan.<br />
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Taiwan is not part of Communist China, and never was and never will be. It is an independent, sovereign nation 100 or so miles off the coast of Communist China. For Taiwan's 23 million people, Taiwan is home, Taiwan is their nation.<br />
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<a data-mce-href="http://www.taipeitimes.com/News/editorials/archives/2017/10/06/2003679800" href="http://www.taipeitimes.com/News/editorials/archives/2017/10/06/2003679800">In a recent oped</a>, Mr. Lee wrote, among other things:<br />
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''Taiwan’s modern and contemporary history dates from more than a century ago. During the early period between 1895 and 1945, it was subject to Japanization. The middle period from 1945 to 1995 was one of sinicization, and the late period, since 1995, has seen an unfinished process of Taiwanization.<br />
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''Starting from the nation’s native inhabitants, the Aborigines, Taiwan has passed through various stages, including Dutch colonization, followed by the Kingdom of Tungning founded by Cheng Cheng-kung better known as Koxinga, and then by the Qing Dynasty. In the process, it has formed a cultural profile that is different from China’s and manifests itself in daily life.<br />
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''Taiwan is separated from China by a stretch of sea. It is closer to the East Asian nations of Japan and North and South Korea, and more distant from the countries of Southeast Asia. That is because the former fall within the cultural sphere of Chinese characters, while the latter moved away from China’s cultural orbit when they came under European colonial rule.<br />
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''Taiwan has shifted the emphasis of its relations in the region from a northbound orientation to a southbound one, hoping to expand its trade, business and cultural relations with Southeast Asian countries so as to reduce the risk that results from excessive reliance on China.<br />
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''Taiwan is a special place — a political, economic and cultural entity that is a nation and yet is not one. After World War II, Taiwan, unlike other former colonies in Asia, did not choose to become independent. Instead, it became entangled in the all-out war between the Chinese Nationalist Party (KMT) and the Chinese Communist Party (CCP).<br />
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''Consequently, Ilha Formosa, which could have grown into a small, but beautiful country, cannot stand tall on the world stage, even though it does in fact exist."<br />
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To read the entire essay, see <a data-mce-href="http://www.taipeitimes.com/News/editorials/archives/2017/10/06/2003679800" href="http://www.taipeitimes.com/News/editorials/archives/2017/10/06/2003679800">the Taipei Times link here</a>.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-11053205.post-46703745129088439112017-10-06T20:26:00.002-07:002017-10-06T20:26:43.045-07:00"Blade Runner 2049" is about global warming or global cooling? Great cli-fi movie, but bad science? Critics are having a field day! <br />
"Blade Runner 2049" is about global warming or global cooling? Great cli-fi movie, but bad science? Critics are having a field day! <div class="post-header">
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<br /><br /><br /><br /> When I lived in Tokyo in the 1990s, one of my friends at the English-language newspaper where I worked, Tom Bradford, who was from the Los Angeles area before flying over to Japan for a journalism gig, kept telling me about how Tokyo at night reminded him so much of the Ridley Scott cult film<span style="color: blue;"> "Blade Runner."</span> And Tom was right: Tokyo at night was and still is "Blade Runner" writ large.<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><strong>The film was set in a near future of 2019. We are almost there.</strong><br /><strong><br /></strong><br /><strong><br /></strong><br /><br /><br /><br /><br /><br /><br /><span style="font-size: medium;">Now comes the latest iteration of the "Blade Runner" meme in 2017 and it's titled "Blade Runner 2049" since it takes place 30 years later -- in 2049.</span><br /><span style="font-size: medium;"><br /></span><br /><span style="font-size: medium;"><br /></span><br /><br /><br /><br /><br /><a data-mce-href="http://thefutureofreading101.blogspot.tw/2017/10/new-york-times-covers-cli-fi-from-time.html" href="http://thefutureofreading101.blogspot.tw/2017/10/new-york-times-covers-cli-fi-from-time.html"><span style="color: #f48d1d;">And this new movie is a cli-fi film, and it gives climate change a starring role.</span></a> But there's just one problem: while the movie talks about climate change, viewers will see that Los Angeles in 2049 is 30 degrees cooler than today's temperatures and is also hit by strong sub-Arctic blasts of cold air. <br /><br /><br /><span style="font-size: large;">''Global warming,'' or ''global cooling''?</span><br /><br /><br /><br /><br /><br /><br /><a data-mce-href="http://www.patheos.com/blogs/ecopreacher/2017/10/blade-runner-2049-cli-fi-best/#mPq4sohYgzd6zpku.99" href="http://www.patheos.com/blogs/ecopreacher/2017/10/blade-runner-2049-cli-fi-best/#mPq4sohYgzd6zpku.99"><span style="color: #f48d1d;">Leah Schade, a visionary ''eco-preacher'' who is a Lutheran professor of preaching and worship at the Lexington Theological Seminary in Kentucky,</span></a> recently wrote a very good article on the Patheos website about the new movie, which she headlined <span data-mce-style="overflow:hidden;line-height:0px" data-mce-type="bookmark" id="mce_0_start" style="line-height: 0px; overflow: hidden;"></span><a data-mce-href="http://www.patheos.com/blogs/ecopreacher/2017/10/blade-runner-2049-cli-fi-best/#mPq4sohYgzd6zpku.99" href="http://www.patheos.com/blogs/ecopreacher/2017/10/blade-runner-2049-cli-fi-best/#mPq4sohYgzd6zpku.99"><span style="color: #f48d1d;">"'Blade Runner 2049': Cli-Fi at Its Best."</span></a><span data-mce-style="overflow:hidden;line-height:0px" data-mce-type="bookmark" id="mce_0_end" style="line-height: 0px; overflow: hidden;"></span><br /><div class="copy-paste-block">
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<span style="font-size: large;">Her subheadline was telling</span>.</div>
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''Blade Runner 2049 is <a data-mce-href="http://cli-fi.net" href="http://cli-fi.net/"><span style="color: #f48d1d;">cli-fi (climate fiction)</span></a> at its best with superb visual effects, an absorbing storyline, fascinating characters, and poignant religious/philosophical themes.''</div>
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John Siciliano, writing for the Washington Examiner website, wrote about "Blade Runner 2049," too.</div>
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"The sequel to the 1982 science-fiction movie classic "Blade Runner," which [recently] opened nationwide, looks to give climate change a starring role, according to official summaries and timelines released by the film's production house," Siciliano wrote.</div>
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He added: "Set 30 years in the future from the original film's 2019 setting, 'Blade Runner 2049' shows an Earth devastated by the ravages of climatic shifts in temperature and sea-level rise, which has plunged large chunks of Los Angeles into the Pacific Ocean."</div>
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Even in Germany a newspaper is now getting into the cli-fi meme, <a data-mce-href="http://www.sueddeutsche.de/kultur/ausstellung-wettermorphose-1.3697238" href="http://www.sueddeutsche.de/kultur/ausstellung-wettermorphose-1.3697238"><span style="color: #f48d1d;">in a recent article in German by Alex Ruhle, titled "Wettermorphose," </span></a>fi in cinema worldwide: ''Szenarios, apokalyptische Totalkatastrophen, Auslöschung in Cinemascope.''<br /><br /><br /><br /><br /> So with "Blade Runner 2049" hitting the silver screen and social media platforms and YouTube this month and over the next 12 months as the movie fans out around the world, film critics and climate scientists will be left wondering: Was this movie about global warming or global cooling? <br /><br /><br /><br /><br /> Is this "The Day After Tomorrow" all over again? Great movie, bad science? </div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-11053205.post-89899576399434125722017-10-05T22:47:00.002-07:002017-10-05T22:47:35.790-07:00LIZ JENSEN's cli-fi novel THE RAPTURET<span class="italic">HE RAPTURE INTRODUCES</span> a version of life in early-twenty-first-century Britain that is at once clearly recognizable and yet somewhat distorted, recalling the introduction of Atlantican society in <span class="italic">The Paper Eater</span>. The shift that has apparently taken place between the world familiar to the reader and that of Jensen's fiction is immediately evident from the evocation in the novel's opening sentence: “That summer, the summer all the rules began to change” (<span class="italic">TR</span>, 3). The opening <span class="italic">in medias res</span> onto a situation in which some unstoppable cataclysm has already taken place, the effects of which will be felt in the course of the novel, is a typical technique of Jensen's, and the opening sentence, with its suggestion of disruption and discontinuity with the past, clearly echoes Charlotte's reference in the prologue of <span class="italic">My Dirty Little Book of Stolen Time</span> to “the laws of time [being] turned on their head” (<span class="italic">ST</span>, 3).<br />
Britain in 2013 in <span class="italic">The Rapture</span> is on the very verge of a crisis that is apparently linked to climate change, with drought followed by “maverick weather” (4)—during which the winds wreak destruction, “flattening corn, uprooting trees, smashing hop silos and storage barns”—having become customary (4). The novel is set largely in Hadport, a fictional town on the Kent coast. A series of short info-dumps establishes the parameters of the disaster: “The latest projections predict the loss of the Arctic ice cap and a global temperature rise of up to six degrees within Bethany's lifetime” (23). It becomes clear that a battle against the elements is played out on a daily basis, with sunglasses and sunscreen among the absolute necessities carried at all times by the wheelchair-bound Gabrielle Fox. “The heat is abrasive, a hairdryer with no off-switch…. Everyone is wearing sunglasses. I can't think of the last time I saw anyone's eyes in daylight. Or the last time I bared mine” (35).<br />
This is a world that is no longer evolving, no longer developing or growing, but rather is waiting for the end, a recurrent chronotope in Jensen's work. It is also a world that is rapidly running out of oil, and that has never recovered from the “global financial crisis” (10).Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-11053205.post-72012587682011420922017-10-05T22:36:00.002-07:002017-10-05T22:36:46.758-07:00New York Times covers cli-fi from time to time: here is the Google Search Window and the NYT search window too<br />
<a href="http://query.nytimes.com/search/sitesearch/?action=click&contentCollection=Climate&region=TopBar&WT.nav=searchWidget&module=SearchSubmit&pgtype=Multimedia#/cli-fi/since1851/allresults/1/allauthors/newest/">http://query.nytimes.com/search/sitesearch/?action=click&contentCollection=Climate&region=TopBar&WT.nav=searchWidget&module=SearchSubmit&pgtype=Multimedia#/cli-fi/since1851/allresults/1/allauthors/newest/</a><br />
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<a href="http://query.nytimes.com/search/sitesearch/?action=click&contentCollection=Climate&region=TopBar&WT.nav=searchWidget&module=SearchSubmit&pgtype=Multimedia#/cli-fi/since1851/allresults/1/allauthors/newest/">http://query.nytimes.com/search/sitesearch/?action=click&contentCollection=Climate&region=TopBar&WT.nav=searchWidget&module=SearchSubmit&pgtype=Multimedia#/cli-fi/since1851/allresults/1/allauthors/newest/</a><br />
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<a href="https://www.nytimes.com/2017/10/02/movies/mother-darren-aronofsky-climate-change.html"><img class="story_thumb" src="http://static01.nyt.com/images/2017/09/27/arts/27MOTHER-MESSAGE2/27MOTHER-MESSAGE2-thumbStandard.jpg" width="75" /></a></div>
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<a href="https://www.nytimes.com/2017/10/02/movies/mother-darren-aronofsky-climate-change.html">Can Hollywood Movies About Climate Change Make a Difference?</a></h3>
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To galvanize audiences: Don’t use apocalyptic plots. But a dose of humor? That might help.</div>
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<span class="dateline">October 02, 2017</span> - <span class="byline">By MELENA RYZIK</span> - <span class="section">Movies</span> - <span class="printHeadline">Print Headline: "Climate-Change Film? Is Emma Stone in It?"</span></div>
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<a href="https://dotearth.blogs.nytimes.com/2016/10/21/coals-link-to-global-warming-explained-in-1912/"><img class="story_thumb" src="http://static01.nyt.com/images/2016/10/21/blogs/dotclimate1912/dotclimate1912-thumbStandard-v2.jpg" width="75" /></a></div>
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<a href="https://dotearth.blogs.nytimes.com/2016/10/21/coals-link-to-global-warming-explained-in-1912/">News Coverage of Coal’s Link to Global Warming, in 1912</a></h3>
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A 61-word article in two obscure New Zealand newspapers nailed the connection between coal burning and global warming .</div>
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<span class="dateline">October 21, 2016</span> - <span class="byline">By ANDREW C. REVKIN</span> - <span class="section">Opinion</span> - <span class="printHeadline">Print Headline: "News Coverage of Coal’s Link to Global Warming, in 1912"</span></div>
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<li class="story"><div class="element1 thumb">
<a href="https://dotearth.blogs.nytimes.com/2016/01/15/building-visions-of-humanitys-climate-future-in-fiction-and-on-campus/"><img class="story_thumb" src="http://static01.nyt.com/images/2016/01/13/blogs/dotasuplanetaryart/dotasuplanetaryart-thumbStandard.jpg" width="75" /></a></div>
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<a href="https://dotearth.blogs.nytimes.com/2016/01/15/building-visions-of-humanitys-climate-future-in-fiction-and-on-campus/">Building Visions of Humanity’s Climate Future – in Fiction and on Campus</a></h3>
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A call for fresh narratives and roadmaps aimed at charting a human journey with the fewest regrets.</div>
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<span class="dateline">January 15, 2016</span> - <span class="byline">By ANDREW C. REVKIN</span> - <span class="section">Opinion</span> - <span class="printHeadline">Print Headline: "Building Visions of Humanity’s Climate Future – in Fiction and on Campus"</span></div>
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<a href="https://sinosphere.blogs.nytimes.com/2015/03/20/q-and-a-chang-rae-lee-on-his-tale-of-migrants-from-an-environmentally-ruined-china/"><img class="story_thumb" src="http://static01.nyt.com/images/2015/03/20/world/20sino-lee/20sino-lee-thumbStandard.jpg" width="75" /></a></div>
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<h3>
<a href="https://sinosphere.blogs.nytimes.com/2015/03/20/q-and-a-chang-rae-lee-on-his-tale-of-migrants-from-an-environmentally-ruined-china/">Q. and A.: Chang-rae Lee on His Tale of Migrants From an Environmentally Ruined China</a></h3>
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The Korean-American author’s new novel, “On Such a Full Sea,” centers on a Chinese woman named Fan who is a laborer in a city called B-Mor, a future version of Baltimore.</div>
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<span class="dateline">March 20, 2015</span> - <span class="byline">By EDWARD WONG</span> - <span class="section">World</span> - <span class="printHeadline">Print Headline: "Q. and A.: Chang-rae Lee on His Tale of Migrants From an Environmentally Ruined China"</span></div>
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<a href="https://www.nytimes.com/2014/12/10/opinion/what-interstellar-and-snowpiercer-got-wrong.html"><img class="story_thumb" src="http://static01.nyt.com/images/2014/12/09/opinion/09mark/09mark-thumbStandard.jpg" width="75" /></a></div>
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<a href="https://www.nytimes.com/2014/12/10/opinion/what-interstellar-and-snowpiercer-got-wrong.html">Climate Fiction Fantasy</a></h3>
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The real stretch? That humanity will be able to escape the disaster.</div>
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<span class="dateline">December 10, 2014</span> - <span class="byline">By JASON MARK</span> - <span class="section">Opinion</span> - <span class="printHeadline">Print Headline: "Climate Fiction Fantasy"</span></div>
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<a href="https://dotearth.blogs.nytimes.com/2014/10/22/extreme-whether-explores-the-climate-fight-as-a-family-fued/"><img class="story_thumb" src="http://static01.nyt.com/images/2014/10/22/blogs/dotwhether/dotwhether-thumbStandard-v2.jpg" width="75" /></a></div>
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<a href="https://dotearth.blogs.nytimes.com/2014/10/22/extreme-whether-explores-the-climate-fight-as-a-family-fued/">'Extreme Whether' Explores the Climate Fight as a Family Feud</a></h3>
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A new play tries to engage audiences on global warming through a family feud over fossil fuels, dying frogs and melting ice.</div>
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<span class="dateline">October 22, 2014</span> - <span class="byline">By ANDREW C. REVKIN</span> - <span class="section">Opinion</span> - <span class="printHeadline">Print Headline: "'Extreme Whether' Explores the Climate Fight as a Family Feud"</span></div>
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<h3>
<a href="https://www.nytimes.com/roomfordebate/2014/07/29/will-fiction-influence-how-we-react-to-climate-change/">The Power of Climate Change Fiction</a></h3>
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Will movies and novels about the effects of climate change make a difference in how people react to global warming?</div>
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<span class="dateline">July 29, 2014</span> - <span class="byline"></span> - <span class="section">Opinion</span> - <span class="printHeadline">Print Headline: "The Power of Climate Change Fiction"</span></div>
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<li class="story"><div class="element1 thumb">
<a href="https://dotearth.blogs.nytimes.com/2014/05/14/three-long-views-of-life-with-rising-seas/"><img class="story_thumb" src="http://static01.nyt.com/images/2014/05/13/blogs/dotcities/dotcities-thumbStandard-v2.jpg" width="75" /></a></div>
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<a href="https://dotearth.blogs.nytimes.com/2014/05/14/three-long-views-of-life-with-rising-seas/">Three Long Views of Life With Rising Seas</a></h3>
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A novelist, an astrobiologist and an ecologist explore the impact of centuries of rising seas.</div>
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<span class="dateline">May 14, 2014</span> - <span class="byline">By ANDREW C. REVKIN</span> - <span class="section">Opinion</span> - <span class="printHeadline">Print Headline: "Three Long Views of Life With Rising Seas"</span></div>
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<li class="story"><div class="element1 thumb">
<a href="https://www.nytimes.com/2014/04/01/education/using-the-arts-to-teach-how-to-prepare-for-climate-crisis.html"><img class="story_thumb" src="http://static01.nyt.com/images/2014/04/01/us/CLIMATENOVELS/CLIMATENOVELS-thumbStandard.jpg" width="75" /></a></div>
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<h3>
<a href="https://www.nytimes.com/2014/04/01/education/using-the-arts-to-teach-how-to-prepare-for-climate-crisis.html">College Classes Use Arts to Brace for Climate Change</a></h3>
<div class="summary">
A growing number of university courses are using the creative arts, including “climate fiction,” to respond to what many students consider one of society’s central challenges.</div>
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<span class="dateline">April 01, 2014</span> - <span class="byline">By RICHARD PÉREZ-PEÑA</span> - <span class="section">Education</span> - <span class="printHeadline">Print Headline: "College Classes Use Arts to Brace for Climate Change"</span></div>
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Unknownnoreply@blogger.com0