[✔️] October 31, 2022 - Global Warming News - daily selection

[Richard Pauli]

/*October 31, 2022*/

/[ "the rain, it raineth on the just and the unjust..." ]/
*Rain finally puts an end to wildfire season in Western Washington*
  Paige Browning
OCT 27, 2022
The 2022 wildfire season in Western Washington is over, thanks to the 
rain the region has received since Friday.

"Areas around the Bolt Creek fire, specifically the 14,000 acres the 
fire had burned so far, received between two and four inches of rain 
over the past week which is plenty to saturate the ground, to get 
through those dense canopies all the way down to the understory, and it 
really has halted the spread of the fire," said Matthew Dehr, a 
meteorologist with the Washington State Department of Natural Resources.

Dehr said that the Bolt Creek fire, as well as others west of the 
Cascade Mountains, are not expected to grow and more. Fire crews are 
still keeping an eye out for flare ups in the area, however, and ground 
crews are watching our for landslides and falling trees along Highway 2.

"There are a lot of very damaged trees in that area now," Dehr said. "I 
mean it's 14,000 acres, it's quite a large area that got impacted by the 
fire so, luckily, we have not seen any landslides or debris flow in that 
area yet. However, we do continue to get rain."

The Department of Natural Resources says that stretches along Highway 2 
are at risk of debris flow. There may be road closures in the future.
https://kuow.org/stories/rain-finally-puts-an-end-to-wildfire-season-in-western-washington



/[ A rapidly melting Arctic Ocean is changing the nuclear balance of 
power - the US is winning the Public Relations Arctic battle by showing 
off our big nuke delivery platforms among the ice. Russia is secretive 
and purports a strategy of descend, sit and wait under the ice.  The US 
style requires propaganda --  so Welcome Aboard via YouTube videos  ]/
*I dove in a NUCLEAR SUBMARINE (Frozen Ocean) 
*https://www.youtube.com/watch?v=JRQSbK4Krg0
and
*Nuclear Submarine Deep Dive *SmarterEveryDay
How I Boarded a US NAVY NUCLEAR SUBMARINE in the Arctic (ICEX 2020) - 
Smarter Every Day 237
Boarding a US NAVY NUCLEAR SUBMARINE in the Arctic - Smarter Every Day 240
https://www.youtube.com/playlist?list=PLjHf9jaFs8XWoGULb2HQRvhzBclS1yimW



/[  a few aspects simple explanations ]/
*What Are the Solutions to the Climate Crisis? | Planet A*
Jan 17, 2022  In this episode of ‘Planet A’, Professor of Environmental 
Science Garry Petersen explains how humans must adapt if we are to avoid 
the tipping points that are leading towards irreparable harm to the planet.

In 'Planet A', VICE World News takes viewers on a global tour of the 
ecosystems that sustain life on earth to expose the existential threats 
that reach far beyond climate change.
https://www.youtube.com/watch?v=gCMGFZ2A85o


/[  BBC about Global warming at the Movies  - long article ]/
*The climate films going beyond disaster*
By Becca Warner
We need a subtler, more varied portrayal of climate change in film than 
just climate disaster blockbusters, says Becca Warner
In a fictional hospital in Seattle, surgeons are sweating through their 
scrub caps as a heatwave descends on the city. With a sudden whoosh and 
a clank, the building's overworked air conditioning system comes to a 
halt. Within minutes, the stifling temperature makes it unsafe to 
operate, and surgeons are forced to rush to finish their procedures.

The Grey's Anatomy doctors are navigating the same relationships and 
patients that have kept them on our screens for some 400 episodes of the 
show. But in this episode, for the first time, the backdrop to the drama 
is the very real issue of climate change. The air conditioning system, 
Dr Richard Webber says, "wasn't designed to be pushed that hard". Dr 
Addison Montgomery replies: "the Earth wasn't designed to push this hard".

It's a relatively rare example of the many kinds of climate-related 
storylines that are typically missing from fictional TV and film worlds. 
Social scientists and non-profits argue that climate is a topic that 
belongs in many kinds of on-screen stories, not just the occasional 
climate-disaster thriller. But can seeing the realities of climate 
change affecting characters on the big and small screen really help us 
to relate differently to the unfolding climate crisis – to cope better, 
or even change our behaviour?
Non-profit storytelling consultancy Good Energy believes it can. It is 
among a small but growing number of organisations calling for far more 
TV and film scripts to feature climate-related storylines, characters 
and reference points.

In April 2022, it released its Good Energy Playbook, a set of guidelines 
for embedding climate change into any on-screen story. It joins other 
initiatives in drawing attention to the need for film and TV to reflect 
the myriad ways climate change leaves its mark on our everyday lives, 
including Planet Placement, a set of tips for the TV and film industry 
from Bafta’s Albert, and the Natural Resources Defense Council (NDRC)'s 
Rewrite the Future.

The Good Energy Playbook's suggestions are appropriately wide-ranging: 
characters with climate anxiety and those fighting against injustice; 
utopian narratives that explore climate solutions; storylines that 
quietly weave climate references into their characters' worlds. Examples 
span from showing solar panels on houses in the background of a shot to 
main characters taking on the fossil fuel industry.
ood Energy argues that the stories on our screens should hold a mirror 
up to our real, climate-changed lives. This includes imagining what 
could go wrong, as many dystopian blockbusters already have, but also 
what could go right. It also emphasises the importance of thorough 
research and avoiding tired environmental tropes; of recognising 
intersectionality and including marginalised voices.

The playbook was created by Good Energy founder Anna Jane Joyner, whose 
background in climate communications led her to question why climate was 
barely appearing in fictional TV and film worlds. "It started very much 
as a personal campaign, where I just got on the phone with as many 
screenwriters as I could," she says.

She quickly learned that writers increasingly wanted to talk about 
climate, she says, and were more and more worried about it in their 
personal lives, but "didn't really have the support and toolset to be 
able to do it".

Storytellers might be ready to bring climate into the writers' room, but 
is it the job of fictional TV shows and films to deliver climate 
realities to our sofas and cinema seats? More to the point, what good 
will it do?

Irony in fiction can help us navigate the absurdity of the real world, 
and our frustration at it
Climate stories do, of course, already exist. A wave of dramatic, often 
icy, nearly always apocalyptic movies has graced cinema screens since 
The Day After Tomorrow's box office success in 2004. A handful of 
research studies looked at the impact this film had on viewers, and 
found that it prompted greater concern about climate change. It also 
shifted people's understanding of it and made them more likely to say 
they would take action to reduce their emissions or donate to a 
climate-related charity.

These different impacts – on how people think, feel and behave – appear 
to go hand-in-hand. A 2019 study of climate change in mass media more 
broadly found that attitudes, understanding and behaviour interlink. The 
authors called on governments to consider media an important tool in 
making progress on important climate pledges.

Science also tells us that stories have a power that hard facts often 
don't. Research has long established that the human brain finds it 
easier to understand and remember information delivered as a narrative, 
and has even found that stories can influence behaviour. In one study, 
when research participants read about the environment in the form of a 
story, they were almost twice as likely to sign up to Greenpeace or 
recycle their paper than participants who were given the same 
information as a series of facts.
Climate stories, then, seem like a pretty good idea. But these sorts of 
narratives have been few and far between. Julie Doyle, professor of 
media and communication at the University of Brighton in the UK, says 
climate change has struggled for years get into any form of fictional 
film or TV representation. "There's been a silence around it," she says.

In fact, according to Good Energy's commissioned research, just 0.6% of 
scripted TV and film released in the US between 2016 and 2020 mentioned 
the term "climate change". The word "dog", meanwhile, was mentioned 
almost 13 times as frequently as all 36 climate keywords combined. And 
"beer” was uttered 19 times more than "climate change".

It's time to break the climate silence, says Doyle. "Mainstream media 
has tended to follow rather than lead, and it would be great if 
mainstream media could lead this."

Being such an integral part of our everyday lives, media can prompt 
discussions and debates about how we best address climate change, she 
says. "There's still a real lack around that and that seems like a loss 
but a great opportunity."

The nightmarish post-apocalyptic worlds painted by the likes of 
Snowpiercer and Mad Max: Fury Road rely on just one tool in climate 
storytellers' armoury: fear
Day-to-day mentions of climate change in media are especially important 
because, while blockbuster climate films can have a positive impact on 
awareness and action, the effect is woefully short-lived. People can 
feel inspired to take action in the moment, but the feeling fades in a 
matter of weeks.

Michael Svoboda, assistant professor of writing at George Washington 
University, has analysed over 85 climate-related films. "I'm totally in 
favour of at least making a nod to climate change in every film," he 
says. "When it's happening repeatedly, that could change the conversation."

We don't just need more climate stories but, as the Good Energy Playbook 
outlines, different ones. The nightmarish post-apocalyptic worlds 
painted by the likes of Snowpiercer and Mad Max: Fury Road rely on just 
one tool in climate storytellers' armoury: fear. And research shows that 
it may be a blunt one.

When study participants were shown fear-inducing images of climate 
change, like a dried-up lake or children suffering famine, they were 
left feeling the importance of the issue but also powerless to stop it. 
In contrast, images showing what people can do personally, like a 
cyclist and a house with solar panels, gave them the strongest sense of 
their own ability to make change. Too much fear can rob people of agency 
– the very thing the collective fight against climate change depends on. 
(You may also like: The harm from worrying about climate change).
Might hope be the antidote? Research suggests that it could. A US survey 
looking at how people's attitude to climate change impacts their 
likelihood to take political action on climate found that those most 
likely to engage in climate-related actions and feel like they can make 
a difference were people who felt "constructive hope". This is the 
belief that humans can be the solution to climate change, rather than 
having faith in a higher power.

These findings point to the need for stories that show human-powered 
possibilities. Svoboda describes Black Panther's visionary landscape of 
Wakanda: an anti-colonial society powered by clean energy. "Black 
Panther was an interesting movie in that it envisions a sustainable 
world," he says. "If you're falling back into the old genre boxes, 
you're not getting the job done."

Even comedy has its place. When environmental communications try to make 
people laugh, they attract more attention to environmental issues and 
improve understanding of them.

Certainly, sweaty bodies are less striking than collapsing glaciers. 
This shouldn't stop us creating and seeking out stories that offer 
greater psychological richness
The climate crisis might not seem like a laughing matter, but Nicole 
Seymour, associate professor of English at California State University, 
says it can be. "We still underestimate the value of comic relief and 
catharsis," she says. In fact, irony in fiction can help us navigate the 
absurdity of the real world, and our frustration at it. "There's 
something incredibly absurd about, for example, Donald Trump denying 
climate change when it's so palpable. So there's this way in which 
absurdity or absurdism seems like the tactic to reach for to kind of 
capture this moment."

She points to comedian Sarah Cooper's brightly coloured Netflix special, 
in which Cooper plays the part of a TV host on fictional breakfast show 
Everything's Fine. With a fixed smile and cheerful delivery, the show's 
weather anchor, played by Maya Rudolph, explains that the week ahead 
will see temperatures "most likely not survivable, so wear a jacket".

"You can laugh about it," Seymour says, "but then also feel like, 'Okay, 
so someone else recognises that the world's gone mad'". It's an 
experience that can make people feel less alone, she adds. The response 
of climate scientists to the satirical disaster movie Don't Look Up 
speaks to this, with some describing their relief at feeling seen. "If a 
climate scientist can […] go to work the next day and feel a little 
better, I feel like there's a lot of value in that," says Seymour...
Comedy also undercuts the kind of eco-moralising that can turn people 
off environmental messages. "A lot of the texts and works I'm looking 
at, they're making fun of themselves. It's a lot harder to dismiss them, 
because they're sort of like, 'No, I get it. I'm in on the joke, so 
we're all part of this,'" says Seymour. "It's a more collaborative 
feeling rather than someone coming at you, wagging their finger at you."

Indeed, when communicating about climate, what isn't said could be just 
as powerful as what is. Julia Leyda, a professor in film studies at the 
Norwegian University of Science and Technology, focuses her research on 
climate depictions that are understated, even unconscious. In The 
Walking Dead, for example, characters are visibly and constantly 
sweating, with no relief from the Sun's relentless heat. The series 
therefore invites us to experience a hotter, post-air-conditioning future.

"It's not just science, it's not just numbers – it's our bodies, it's 
our clothes, it's our daily life," says Leyda. "Media prepares us to 
feel something we're going to feel soon. Watching representations of 
this stuff in fiction on the screen kind of helps us rehearse for it." 
These subtle references can be meaningful even when climate isn't 
directly mentioned...
Doyle says the Good Energy guidelines could reach even further. Her work 
has highlighted the importance of collaborative participation – 
"actually involving an audience in some way of participating". This 
could mean multiple story endings that an audience could choose from, or 
other creative ways for a viewer to engage directly with what's 
unfolding on screen. The possibilities, she says, "could be quite radical".

To truly understand how climate stories can best be told, we need more 
examples to experience and to study, including some that are less 
dramatic than we are used to. Certainly, sweaty bodies are less striking 
than collapsing glaciers. This shouldn't stop us creating and seeking 
out stories that offer greater psychological richness, and versions of 
reality that are more relatable, or more ambitious.

There is no single emotional lever to be pulled, but rather an artist's 
palette of optimism and unease, joy and jeopardy. This kind of depth and 
variety has the potential to mark a new chapter in the bigger story of 
our relationship to climate change.

Becca Warner is an environmental writer based in London, UK. Follow her 
on Twitter @beccawarner. She briefly worked on Bafta Albert's Planet 
Placement on a freelance basis several years ago.
https://www.bbc.com/future/article/20221021-how-climate-change-in-film-shape-society



/[The news archive - looking back]/
/*October 31,  2014*/
October 31, 2014:  The New York Times reports:

    "'I’m not a scientist,' or a close variation, has become the go-to
    talking point for Republicans questioned about climate change in the
    2014 campaigns. In the past, many Republican candidates questioned
    or denied the science of climate change, but polls show that a
    majority of Americans accept it — and support government policies to
    mitigate it — making the Republican position increasingly
    challenging ahead of the 2016 presidential elections.

    "'It’s got to be the dumbest answer I’ve ever heard,' said Michael
    McKenna, a Republican energy lobbyist who has advised House
    Republicans and conservative political advocacy groups on energy and
    climate change messaging. 'Using that logic would disqualify
    politicians from voting on anything. Most politicians aren’t
    scientists, but they vote on science policy. They have opinions on
    Ebola, but they’re not epidemiologists. They shape highway and
    infrastructure laws, but they’re not engineers.'

    "Jon A. Krosnick, who conducts polls on public attitudes on climate
    change at Stanford, finds the phrase perplexing. 'What’s odd about
    this ‘I’m not a scientist’ line is that there’s nothing in the data
    we’ve seen to suggest that this helps a candidate,' Mr. Krosnick
    said. 'We can’t find a single state where the majority of voters are
    skeptical. To say, ‘I’m not a scientist’ is like saying, ‘I’m not a
    parakeet.’ Everyone knows that it just means, ‘I’m not going to talk
    about this.’"


Further, the Times notes:

"[A] cadre of Republican staffers and advisers, most under the age of 
40, have started pushing their bosses to find a way to address the issue.

'The general dialogue has been, ‘We have to do something about this,’ 
said one Republican adviser who asked to remain anonymous in order to 
speak candidly. 'We have to be less head-in-the-sand and acknowledge we 
are losing public opinion on this issue.'”

http://www.nytimes.com/2014/10/31/us/why-republicans-keep-telling-everyone-theyre-not-scientists.html?smid=nytcore-iphone-share&smprod=nytcore-iphone


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