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Arts, sciences and climate change: practices and politics at the threshold

Research output: Contribution to Journal/MagazineJournal articlepeer-review

<mark>Journal publication date</mark>2012
<mark>Journal</mark>Science as Culture
Issue number1
Number of pages24
Pages (from-to)1-24
Publication StatusPublished
Early online date15/09/11
<mark>Original language</mark>English


Within climate change debates, writers and scholars have called for
expanded methods for producing science, for proposing strategies for mitigation and adaptation, and for engaging with publics. Arts–sciences discourses are one area in which increasing numbers of practitioners and researchers are exploring ways in which interdisciplinarity may provide a space for reconsidering the role of cultural and creative responses to environmental change. Yet what new perspectives does the arts–science intersection offer for rethinking on climate change? Which historic conjunctions of arts–sciences are most useful to consider in relation to present-day practices, or in what ways do these previous alignments significantly shift in response to climate change? The uncertainty, contingency, and experimentation necessarily characteristic of climate change may generate emergent forms of practice that require
new approaches—not just to arts and sciences, but also at the new thresholds, or ‘meetings and mutations’ that these practices cross. Thresholds—narrated here through the figure of ‘zero degrees’—offer a way to bring together sites of encounter, transformations, uncertainties, future scenarios, material conditions and political practices in relation to climate change. Such shifting thresholds and relations lead not
to fundamental re-definitions or demarcations of arts and sciences, arguably, but rather to shared encounters with politics. Drawing on philosophies of aesthetics and sciences elaborated by Jacques Ranciere and Isabelle Stengers, we point to the ways in which
political possibility is entangled with aesthetic-material conditions and practices, and how recognition of these interrelations might enable ‘collective experimentation’ within both creative practices and climate sciences.