With the effects of climate change linked to the use of fossil fuels, as well as the prospect of their eventual depletion, becoming more noticeable, political establishment and society appear ready to switch towards using renewable energy. Solar power and wind power are considered to be the most significant source of global low-carbon energy supply. Wind energy continues to expand as it becomes cheaper and more technologically advanced. Yet, despite these expectations and developments, fossil fuels still comprise nine-tenths of the global commercial energy supply. In this article, the history, technology, and politics involved in the production and barriers to acceptance of wind energy will be explored. The central question is why, despite the problems associated with the use of fossil fuels, carbon dependency has not yet given way to the more ecologically benign forms of energy. Having briefly surveyed some literature on the role of political and corporate stakeholders, as well as theories relating to sociological and psychological factors responsible for the grassroots’ resistance (“not in my backyard” or NIMBYs) to renewable energy, the findings indicate that motivation for opposition to wind power varies. While the grassroots resistance is often fueled by the mistrust of the government, the governments’ reason for resisting renewable energy can be explained by their history of a close relationship with the industrial partners. This article develops an argument that understanding of various motivations for resistance at different stakeholder levels opens up space for better strategies for a successful energy transition. https://doi.org/10.30560/sdr.v1n1p11 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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[ENG] Water Nation is an artistic research project and short film exploring archival footage of the Institute of Sound & Vision of flooding in The Netherlands. Told from the artist’s perspective it is a reflection on how to connect and make climate change and the Dutch history around water and flooding palpable. Through artistic and AI experiments a short animated film was created. [NL] Water Nation is een artistiek onderzoeksproject en een korte film waarin archiefmateriaal van het Instituut voor Beeld & Geluid over overstromingen in Nederland is verwerkt. Vanuit het perspectief van de kunstenaar is het een reflectie op hoe klimaatverandering en de Nederlandse geschiedenis rond water en overstromingen invoelbaar kunnen worden gemaakt en met elkaar kunnen worden verbonden. Door middel van artistieke en AI-experimenten werd een korte animatiefilm gecreëerd.
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The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
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