The adaptation of urbanised areas to climate change is currently one of the key challenges in the domain of urban policy. The diversity of environmental determinants requires the formulation of individual plans dedicated to the most significant local issues. This article serves as a methodic proposition for the stage of retrieving data (with the PESTEL and the Delphi method), systemic diagnosis (evaluation of risk and susceptibility), prognosis (goal trees, goal intensity map) and the formulation of urban adaptation plans. The suggested solution complies with the Polish guidelines for establishing adaptation plans. The proposed methodological approach guarantees the participation of various groups of stakeholders in the process of working on urban adaptation plans, which is in accordance with the current tendencies to strengthen the role of public participation in spatial management. https://doi.org/10.12911/22998993/81658
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This paper introduces and contextualises Climate Futures, an experiment in which AI was repurposed as a ‘co-author’ of climate stories and a co-designer of climate-related images that facilitate reflections on present and future(s) of living with climate change. It converses with histories of writing and computation, including surrealistic ‘algorithmic writing’, recombinatory poems and ‘electronic literature’. At the core lies a reflection about how machine learning’s associative, predictive and regenerative capacities can be employed in playful, critical and contemplative goals. Our goal is not automating writing (as in product-oriented applications of AI). Instead, as poet Charles Hartman argues, ‘the question isn’t exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting’ (1996, p. 5). STS scholars critique labs as future-making sites and machine learning modelling practices and, for example, describe them also as fictions. Building on these critiques and in line with ‘critical technical practice’ (Agre, 1997), we embed our critique of ‘making the future’ in how we employ machine learning to design a tool for looking ahead and telling stories on life with climate change. This has involved engaging with climate narratives and machine learning from the critical and practical perspectives of artistic research. We trained machine learning algorithms (i.e. GPT-2 and AttnGAN) using climate fiction novels (as a dataset of cultural imaginaries of the future). We prompted them to produce new climate fiction stories and images, which we edited to create a tarot-like deck and a story-book, thus also playfully engaging with machine learning’s predictive associations. The tarot deck is designed to facilitate conversations about climate change. How to imagine the future beyond scenarios of resilience and the dystopian? How to aid our transition into different ways of caring for the planet and each other?
This final response to the two climate change denial papers by Shani and Arad further highlights the inaccuracies, misinformation and errors in their commentaries. The obfuscation of scientific research and the consensus on anthropogenic climate change may have significant long-term negative consequences for better understanding the implications of climate change and climate policy for tourism and create confusion and delay in developing and implementing tourism sector responses.
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This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
The objective of Waterrecreatie Nederland is to improve water recreation in the Netherlands. One of the focus points that the foundation focuses on is strengthening sustainable water recreation. With this study, Waterrecreatie Nederland wants to map the current CO2 emissions of recreational shipping (here: sailing and motor boats), in order to be able to report and communicate about this, and also as a baseline measurement for future monitoring in this area.Societal IssueShipping has a substantial impact on several environmental systems, amongst others through air and water pollution, and its contribution to climate change. The role of recreational shipping in these issues is not well known, as measurements are scarce and often partly based on assumptions. Benifit to societyThis project tries to strengthen the knowledge base on the carbon (CO2) emissions of recreational shipping in the Netherlands, and to provide detail on fuel use, fuel types, distances, etc. That knowledge can help in making more informed choices on the future development of recreational shipping, with a lower impact on climate change.
The latest IPCC Report (2022) provided by the UN shows us that, to guarantee a safe future for upcoming generations, we must change how we lead our lives on several levels. However, the increasing urgency to act and behave in a way that is not damaging the climate is bringing many psychological concerns to young generations. Worldwide reports are demonstrating how the issue of eco-anxiety is increasing daily, and how young people are feeling more hopeless than ever. Climate change has become a climate crisis, and individuals are experiencing pressure and fear incessantly (Marks et al., 2021). We, as Climate Streamers, have often found ourselves in this situation as well, but rather than freezing, we decided to take this challenge and think of solutions. Therefore, with the support of Breda University of Applied Sciences, the Performatory community, the BUas Startup Support Team, and outside mentors, we created Climate Streamers Foundation: a new youth-led non-profit organisation and a movement working towards a more inclusive and less polarised climate action. By working with leisure elements and a positive and appreciative approach, we want to give back hope, voice and power to the youth and inspire each other genuinely and sustainably. The purpose of this application is to allow us to elaborate a feasibility study concerning our MVP (minimum viable product), the card game, and boost the overall concept. We intend to implement the researched data to improve the design and sales management. The card game aims to stimulate appreciative conversations by giving space to players to express their opinions and personal stories and it is designed so everyone can play it, regardless of background and knowledge. After giving 200 games in production, we launched the card game in July 2022.
