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"Art on Climate" International Illustration Competition | AllianzGI

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"Art on Climate" International Illustration Competition | AllianzGI

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CALL FOR ENTRIES

20 June - 19 August 2022

Thank you for supporting the "Art on Climate" International Illustration Competition, registration and submission of entries have been closed. Results will be announced on this page by 30 September 2022.

Global warming and climate change is one of the biggest and most urgent challenges facing the world today. It is not just governments and business sectors that have a role to play in meeting this challenge. Every one of us can contribute. How we live our lives now, and the daily choices we make, can make a real difference to the future of our climate.

The "Art on Climate" International Illustration Competition is inviting illustrators from across the world to create artworks that address the theme of climate change. Its goal is to provide a platform for the exchange of ideas and solutions to tackle climate change, and to inspire the public to make meaningful changes in its lifestyle in response to this global challenge.

Eligibility: any person aged 18 or above*, from any location, is eligible to participate.
*Aged 18 or above on 19 June 2022

Organised by Fingertips Company Limited and sponsored by Allianz Global Investors (AllianzGI), "Art on Climate" is an international illustration competition held right across the world that aims to bring greater visibility to the issue of action against climate change.

The competition was first launched in Spain in 2019, and extended its footprint to the Asia-Pacific region in 2021, attracting over 1,300 artworks from more than 1,000 illustrators. In 2022, the competition's footprint has been expanded to cover more regions, including various European countries, the US and more countries in the Asia-Pacific region. The competition provides a platform for illustrators and students to showcase their talents and skills.

AllianzGI, a leading asset manager in the development of sustainable investment, is committed to limiting global warming and ensuring a smooth transition to a low-carbon future. The 2022 competition aims to bring greater visibility to the issue of climate change, thereby contributing to achieving the objectives set out in the Paris Agreement. The initiative responds to United Nations Sustainable Development Goals^ (SDGs) Goal 13: Climate Action - "take urgent action to combat climate change and its impacts".

^Source: United Nations, Sustainable Development Goals; 2022.

Participants are invited to submit original works on the theme of "climate change". Participants should use one or more of the statements below as a starting point for their work:

Statements:

1. Change your lifestyle to make a real difference:
As fellow citizens of the Earth, we all have a responsibility to tackle climate change. By embracing lifestyle choices that are less harmful to the environment, we can all be part of the solution. For example, to reduce your greenhouse gas emissions, use electric transportation. Where possible, walk or ride a bike instead of driving. Reduce your household's energy use by, for instance, switching to LED lighting and more energy-efficient electrical appliances.

2. Preserve our world for the next generation:
Climate change is a global crisis that goes beyond borders. It requires cooperation at all levels across the world, among individuals, businesses and governments. The actions we take now will determine what the world will look like in the future. If all of us come together to tackle climate change, it's not too late for us to make a difference and build a safer world for everyone, especially our future generations.

3. Tell others what you are doing to magnify your impact:
Telling your friends and family what you are doing to reduce emissions is one of the most important things you can do to fight climate change. Use your voice as a consumer, a customer and a voter to magnify the impact of your words and make businesses and the authorities more aware of the importance of climate issues.

4. Be optimistic about climate action:
There is hope in the fight against climate change as more people and organisations are making climate change a priority. More and more young people are now stepping up and taking leadership roles, driving change, and urging everyone to take meaningful climate action. Other good news includes the fact that the use of electric transportation is accelerating around the world, while the cost of renewable energy is falling continuously.

5. Take meaningful climate action to create social, economic and ecological benefits for everyone:
Building an eco-friendly world is a big challenge, but it can also bring significant benefits. It can help us rein in the runaway costs of climate change, create more green jobs, make our air and water cleaner, improve public health, preserve ecosystems and different animal and plant species, and build a more inclusive and prosperous world economy for all.

Any person aged 18 or above on 19 June 2022, from any location, is eligible to participate

*Aged 18 or above on 19 June 2022

1. Register and upload artwork: from 20 June 2022 to 19 August 2022, both days inclusive

2. Results announcement: winners will be notified by email, and results will be announced on this page by 30 September 2022

1. Must be original works relevant to the theme of the competition and submitted by participants on an individual basis.

2. Each participant may submit up to a maximum of three artworks.

3. The submitted artwork(s) must not have been previously published or previously used for any other purpose.

4. Can be in any medium (for example, painting, computer software, mixed media), but the result must be a flat image and created in colour. Clip art is not allowed.

5. Should be in A3 size (297mm x 420mm), in either horizontal or vertical format.

6. Must be uploaded in JPG format, with a resolution of no less than 300 dpi, and the total size of each entry should be no more than 10MB.

7. Each artwork should be accompanied by a short description (minimum 30 words, maximum 100 words).

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"Art on Climate" International Illustration Competition | AllianzGI

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The "Art on Climate" International Illustration Competition is inviting illustrators from across the world to create artworks that address the theme of climate change. Its goal is to provide a platform for the exchange of ideas and solutions to tackle climate change, and to inspire the public to make meaningful changes in its lifestyle in response to this global challenge.

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Richard Buckminster “Bucky” Fuller, the innovative thinker, engineer, and inventor, was born July 12, 1895 in Milton, Massachusetts. Despite early failures and tragedies, including his being expelled from Harvard University twice and the death of his four-year-old daughter, Fuller went on to achieve…

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This collection of writings by Mark Fisher, author of the acclaimed Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

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This collection of writings by Mark Fisher, author of the acclaimed Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial and many others.

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Karl Marx (1818-1883) was a German philosopher, economist, historian, sociologist, political theorist, journalist, and socialist revolutionary. Born in Trier, Germany, Marx studied law and philosophy.

Friedrich Engels was a German philosopher, historian, political scientist, revolutionary socialist, businessman, journalist, and activist. His father was an owner of large textile factories in Salford and Barmen, Prussia.

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A specter is haunting Europe: The book about wealth, work, and society that revolutionized economic and political thought. In 1848, as revolutionary uprisings were spreading across Europe, a document was drawn up that viewed history in a new way-through the lens of class struggle.

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After 1989, capitalism has successfully presented itself as the only realistic political-economic system - a situation that the bank crisis of 2008, far from ending, actually compounded. The book analyses the development and principal features of this capitalist realism as a lived ideological framework. Using examples from politics, films, fiction, work and education, it argues that capitalist realism colours all areas of contemporary experience. But it will also show that, because of a number of inconsistencies and glitches internal to the capitalist reality program capitalism in fact is anything but realistic.

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After 1989, capitalism has successfully presented itself as the only realistic political-economic system - a situation that the bank crisis of 2008, far from ending, actually compounded. The book analyses the development and principal features of this capitalist realism as a lived ideological framework.

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is an illustrator and animator working in London. He previously spent several years as an illustrator at London creative agency Glueisobar working on digital projects for a wide range of clients. In 2012 he left Glueisobar to venture into the world of freelance. He mainly works with After Effects, Photoshop, Flash and Cinema 4D. His work now as freelance is mainly a critique to the capitalist system, the plunder of the earth's resources, and tech-obsessed culture. He also animates short films.

More projects on his website!

All Rights Reserved to Steve Cutts

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Steve is an illustrator and animator working in London. He previously spent several years as an illustrator at London creative agency Glueisobar working on digital projects for a wide range of clients. In 2012 he left Glueisobar to venture into the world of freelance. He mainly works with After Effects, Photoshop, Flash and Cinema 4D....

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wish i could keep my emotions under control

feel;ing slightly out of control

wish everything was better

talking in bubbles

i need to deal with this, my brain has gone loco

people walking back and forth like they dont know what to do with themselves

wished i didnt feel so alone, where is everyone??

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a sudden urge to be productive

too much talking

new art exchange on the journey

is it wrong to be naive

is it wrong to want something better

part of me doesnt feel real

everyone gets up and starts dancing and just turns into lines and shapes

back to the 70s, too people with big dogs-round glasses and very serious looking. paint on trousers

guy to my left looks like an intelligent hamster

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my voice sounds whinny

Just want to drift off in a cloud right now

Go up with the care bears

feel a little like my brain is lost again

like the mnusic in the coffee shop, want to dance!!

People today are less tech and more connect

feeling really ineasy

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plant plant everywhere

I do feel like my brain is on overdrive

Though it does help process some of my work

what if everyone had a phone as a head

people annoy me

why am i hearing the icecream van all the time

regemented life: its sunny quick lets all go outside

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Our Silver City 2094- Nottingham Contemporary

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Our Silver City 2094- Nottingham Contemporary

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I went to see this when i first moved to Nottingham in January.

This show travels to the end of the centuray and questions what the landscape will be when we hit that mark.
Featuring some work from 400 million years ago to the presnt day, it is tracing our the line of where we have come from and how we got to where we are now, to what could happen in the future that has been presented in this exhibiton.

Thje future is now uncertain because of the trajectory we have put it on

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There was so many aspects to this exhibiton.
A collaborative project, exploring stories of labour and care.
This part RAFTS was part of interweaving stories, that included a seven song oratorio and videos of peoples poetry and other visual language that makes the connection between mental health, recovery and the environement.

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Among the Machine -Zabludowicz Collection

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Among the Machine -Zabludowicz Collection

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Fantastic show.  Many artist looking at the links to artifical means.  Technology that has in many surpassed what a human can do.  Is this ok?
There was many piece of subliminal acts showing what the world has come to in this internet and technological age.

You were able to interact and play with many pieces, chose how it played out and what became inside of the work.

It felt like it was trying to make you one of them, artificial intelligents taking over

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Seal sculpture made from Essex beach plastic rubbish

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The plastic waste collected from one beach is "the tip of the iceberg", the artist says.

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SOUTHEND author Patricia Volante - who wrote her debut book about the Rossi family - will appear on tomorrow tonight's BBC 2 episode of Great British Railway Journeys presented by Michael Portillo.

In the show the famous broadcaster and former Conservative politician stops off in Southend en route from Limehouse to Rochford to chat on camera to Patricia about the ice cream dynasty.

Patricia, who is married into the Rossi family, initially wrote the book with the intention of having it printed as a private account for her kith and kin. However, after approaching publisher Estuary Publishing who she mistakenly thought was a printer, she was encouraged to have the book published.

Rossi's - The Story of Southend's Favourite Ice Cream - is a story of "guts and determination of a young Italian family which faced prejudice and hardship along the way".

It tells how the extension of the railways to Southend coincided with the arrival of Agostino Rossi, who visited on a busy and hot bank holiday August and saw there weren't any ice cream shops.

Agostino had a business in Glasgow but instantly could see that it made sense to move his business and family to the warmer and busier resort of Southend, which he did in 1930.

Mrs Volante said: "It was an exciting experience just to meet, let alone chat, with Michael Portillo, who was charming and seemed genuinely interested in the story.

"I am surprised but also delighted by the amount of interest the book has generated. The story is one that will resonate with many other families of immigrants."

Director of Estuary Publishing, Audrey Snee, added: "It is a heart warming saga that intrigued Michael Portillo who interviewed Patricia in the Rossi ice cream parlour on Westcliff seafront.

"Filming also took place at the Rossi factory and on the pier where he gave ice creams to visitors.

"We have a signed copy of Rossi's by Michael Portillo which will be going up for auction soon to raise money for local charity."

The documentary series in which Michael travels the length and breadth of the country by train is now in its 11th series and attracts over 1.8 million viewers.

The Rossi's book was previously also featured on a BBC Radio 4 show From Our Home Correspondent which has 1 million listeners worldwide.

The programme airs tomorrow - Tuesday January 21, at 6.30pm on BBC2 and will be available shortly on iPlayer.

Rossi's The Story of Southend's Favourite Ice Cream is available to buy from estuarypublishing.co.uk and all good booksellers.

It is also available to loan from the Forum Library.

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BBC show to explore history of the famous Rossi's Ice Cream

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SOUTHEND author Patricia Volante - who wrote her debut book about the Rossi family - will appear on tomorrow tonight's BBC 2 episode of Great British Railway Journeys presented by Michael Portillo. In the show the famous broadcaster and former Conservative politician stops off in Southend en route from Limehouse to Rochford to chat on camera to Patricia about the ice cream dynasty.

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AN environmentalist was left horrified after picking up more than 4kg of rubbish - including PPE and a can full of urine - on Southend's beaches.

Sally Lands has been collecting litter left on the beaches every morning since February, but she was dismayed by the amount of waste she discovered along the coastline on Tuesday.

Miss Lands, of Shorefield Gardens, Westcliff, is frustrated to see visitors to the beaches still failing to put rubbish in bins or taking their waste with them.

She said: "The bag of rubbish I picked up weighed over 4kg.

"The bag was too heavy to carry. It contained two nappies, a box of firelighters for disposable barbecues, clothing, six plastic gloves, over two dozen hand wipes, three masks, plasters, netting from plastic toys, tissues, cans - including one full of urine - food trays, plastic hoops from beer cans, drink cups and cigarette butts.

READ MORE

"It was just unbelievable, to be honest. I cannot put into words how disgusting it is to find used nappies and plasters. It's worse when it's stuffed into the rocks when there are bins provided just a few feet away.

"Finding PPE is really worrying because the masks could be contaminated."

Miss Lands is disappointed to see a lack of respect for the environment.

She added: "I am pleading for people to think about the environment they are in.

"They must see the beauty of the sea, views and general surroundings Southend has to offer. We are incredibly lucky to have the beach. Please have respect for others and our wonderful town."

Miss Lands hopes more of the community will volunteer their services and help to clean our beaches.

She admitted: "Many people stop me daily to say how grateful they are for my efforts and how much they'd like to join me. It is not only extremely rewarding but great for mental health."

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'I found 4kg of rubbish and urine on our beaches'

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AN environmentalist was left horrified after picking up more than 4kg of rubbish - including PPE and a can full of urine - on Southend's beaches. Sally Lands has been collecting litter left on the beaches every morning since February, but she was dismayed by the amount of waste she discovered along the coastline on Tuesday.

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Evaluation

I was happy with how this turned out.

After trying out other ideas I settled on this one as I felt it made more sense than the others.

The only issue I had was that i found it quite difficult to stick to the 1 colour.  I had to make sure I drew it in a way that it would make sense in black and white.

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Flowers designed by Maria Fadeeva. Connect with them on Dribbble; the global community for designers and creative professionals.

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Did a little animating again on my best friend (procreate)

Just to add a little positive bit to my moving image.

Just need to decide on the wording on this bit.

Evaluation.

This was simple, which was what was needed.  The only problem I had was when I did attahc writing in the editing on priemer I had to use a bit more time to find the right colours as i founf sometimes the words dissapeared into the backgrround.

I got there eventually though.

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So after many try outs and editing of the final piece, I have finnaly finished and submitted to Creative Concious.

the above links in thois padlet were for slight ersearch in what to write in the moving image.

I also utlised the photos of my area and the rubbish in a small part of the end piece.

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RED BULL DOESNT HAVE WINGS (dead end on this project)

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RED BULL DOESNT HAVE WINGS (dead end on this project)

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I managed to get round to animating the cans.  I think it started to look quite good and was what I was trying to go for.
Though this will be left for another project

Evaluation

I really enjoyed using after effects to create this, and after a bit of practice it became easier.  I feel this is a good turn for me as I now can use this in another project if need be.

For now I wont be using this animation in this brief as I dont feel that it completely fits the narrative, its a little bit more fanatasy than i wanted to go for.

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Littering is defined by when waste or discarded materials are disposed of in an improper manner, in unwanted locations. It is even classed as a type of pollution. Littering has tragic consequences on the environment. As humans consume natural resources, they, too, create by-products that enter Earth's ecosystems. This includes plastic waste, water pollution, soil runoff, and glass such as jars and bottles are just a few of the man-made products that can harm the Earth and the species that live on it. The damage can be physical (Getting tangled around marine life), or chemical (fertilizers causing algal blooms) but in both cases they can cause lasting damage to the nature and wildlife of an area. Some of the effects littering has on the environment are:

Litter causes damage to marine life, seas and rivers

Dumping litter on sidewalks or along curbs, often causes it to get washed down in to storm drains during a heavy rain. Eventually this water leads to the nearest river or ocean. If the water becomes polluted from litter we can no longer use it for drinking or recreation. Dumping plastic rubbish, including grocery bags, quickly fills up landfills and regularly clog drains. Plastic litter can drift out to sea, and if you have seen Blue planet II, you will know animals like turtles or dolphins may ingest the plastic. Animals may mistake the items of litter floating in the water as food and could choke on them or they may get entangled in it. The plastic creates horrendous health problems for the animals, which can include depleting their nutrients and blocking their stomachs and intestines. Animals cannot break down plastic in their digestive system and will typically die from the obstruction. Parts of plastic can also get tangled around animals' bodies or heads and cause injury or death.

Litter in water supply from consumer and commercial use creates a toxic environment. The water is ingested by deer, fish and a variety of other animals. The toxins may cause blood clotting, seizures or serious medical issues that can kill animals. The toxic water may also kill off surrounding plant life on riverbanks and the bottom of a pond's ecosystem. When humans eat animals that have ingested compromised water supplies, they also can become sick.

Litter Creates Visual Pollution

The presence of litter makes a place unclean and very unpleasant to the eyes, damaging the aesthetics of a place. Not only does litter look dirty, it may carry germs. Some animals are attracted to areas with lots of litter. They find their food among the trash and can pick up the germs and become carriers for diseases that may make people sick. Litter is bad for the environment. It wastes our natural resources. When cans and bottles are discarded on the roadside instead of being recycled, more resources must be used to create cans and bottles from new materials.

Littering Is Accountable For The Death Of Millions Of Animals

Countless animals die every year thanks to littering. . Animals can get entangled in littered objects and die a slow and painful death. Items like broken glass, pins, and other sharp objects present in the litter can injure animals who tread on them unknowingly. Some substances present in the litter can be ingested by animals and produce toxic effects inside their bodies, irreversibly harming them.

Littering Can cause Soil, Water, And Air Pollution

Hazardous chemicals can leak out of the litter and pollute the soil and nearby water. These toxins eventually enter the human body via the food chain. The contaminants also inhibit plant growth and can cause health issues in animals. Littering can actually lead to air pollution. Frequently, litter is burnt as an easy way to get rid of it. The burning process can emit a substantial amount of toxic particulate matter and gases into the air. The pollutants can then lead to respiratory problems and other health problems in humans and other living beings.

Sharp objects, toxic chemicals, and other discarded objects can also cause physical harm to humans. Pathogens in the litter could even lead to an epidemic. Also accidents could result when vehicles come in contact with waste.

There Is A Possibility Of A Fire

When the litter contains flammable materials, a small spark or even lightning can immediately start a fire. Such fires can become uncontrollable and lead to large losses of lives and property. Accidental lighting of litter can even cause wildfires. For example, discarded cigarette buttes that have not been fully put out can cause fires.

Cleaning Up Litter Is Costly To The Economy

If waste is disposed the public at the correct places, cleaning the waste becomes fairly simple for the personnel involved. However, when there is litter that needs to be cleared up, extra funds are needed to pay people to properly clean up the littered locations. Consequently, litter clean-ups costs the economy significantly more than cleaning up waste disposed of responsibly in the proper manner.

In conclusion, trash can travel throughout the world's rivers and oceans, accumulating on beaches. This debris harms physical habitats, transports chemical pollutants, threatens aquatic life, and interferes with human uses of river, marine and coastal environments. Plastic waste has the greatest potential to harm the environment, wildlife and humans. It can be found floating at the surface, suspended in the water column, or on the bottom of almost all water bodies. It is transported by rivers to the ocean, where it moves with the currents, and is often eaten by birds and fish, concentrating toxic chemicals in their tissues, and filling their stomachs, causing them to starve. Plastic aquatic debris is much more than a mere aesthetic problem.

What can you do?

The first solution to littering is to always make sure you properly dispose of your garbage.

Recycle all that can be recycled and put all other garbage in the proper containers.

If you see a friend throwing something on the ground, ask them nicely to put in the trash receptacle instead of on the ground.

If you see a piece of litter, pick it up and throw it away. Make sure you wear gloves, as it could be sharp or be a hazardous or contaminated material.

Raising awareness to the general public and the future generation is key to reducing littering in the UK, and there have been lots of effective anti-litter campaigns. Each local council has its own approach... here are some recent examples:

Ballot Bins, The Hubbub Foundation

The Ballot Bin is a customisable bespoke ashtray that tackles cigarette butt litter. Tackling litter whilst posing a question may not seem to go hand-in-hand but in just six weeks, the voting ash-tray on Villiers Street reduced the number of smokers throwing their butts on the floor by 20% and went viral, reaching 6 million people online. It has since been replicated across the world and has been proven to cut litter by up to 46%.

The bins with double slots asked people to vote on light-hearted questions like 'Batman or Superman?' and people were asked to put their litter in their chosen slot to 'vote.' The key to the campaign's success was simple; it made it fun to use bins!

#Leedsbyexample collaboration with Hubbub group

We were proud to be a part of this successful campaign 'Leeds By Example', a campaign bringing together a ground-breaking coalition of local and national organisations to improve recycling of food and drink packaging currently disposed of 'on the go'. Ou r CafeCrush reverse vending machines were a popular part of this campaign, and even featured on BBC.

In the first six months, the campaign almost doubled recycling on the go in Leeds City Centre from 17-32% by introducing 124 eye-catching new recycling points.

Drive down litter, Hubbub

A collaborative campaign raising awareness of roadside litter, Highways England has estimated that it costs around £6m a year to collect litter from motorways, with more than 150,000 sacks of refuse collected annually. This averages out at 83 bags of litter are collected from each mile of motorway every year! Hubbub UK's #drivedownlitter campaign was an eight-month social experiment testing new ways to tackle littering in two Kent service stations, using proven behaviour change and awareness raising techniques. These included roadside bins for car and lorry users and return and reward machines where motorists can swap their recycling for rewards. Unisan were proud to be a part of this with our CafeCrush reverse vending machines.

Drive Down Litter launched in June 2018 and has been hugely successful in attracting people's attention, promoting debate, and generating media coverage around the issue of litter. The campaign successfully recycled over 8,000 plastic bottles and coffee cups combined at Maidstone services in Kent. Litter on the adjacent on-slip roads decreased by 60% and the campaign had a big impact on both staff behaviour and attitudes.

The campaign had a reach of 41 million people and gained over 40 pieces of media coverage including The Times, The Daily Telegraph, The Independent.

Love Essex, Cleaner Essex Group

Clearing up litter in Essex costs a staggering £17 million per year. The campaign was set up with a focus on avoiding litter so money could be spent on essential services instead.

All of the district and borough councils in Essex backed the campaign, along with McDonald's, KFC, Dominos, and 300 other local businesses. The Highways Agency and Keep Britain Tidy have also shown their support.

The campaign combined education and awareness with enforcement of rules. Messages about the fines that would be handed out to people dropping litter decorated posters, buses, and fast food packaging, as well as appearing on social media.

Local councils and businesses also joined forces and conducted litter picks. There was a 41% reduction in litter by the campaign's third year as a result of this.

The key to the campaign strategy was getting everyone on board. With this increased awareness, it became a lot harder for litter bugs to dump rubbish.

Bin it for Good, Birmingham City Council and Keep Britain Tidy

This campaign was part of a three-month long scheme to keep the city's streets clean while raising money for charity. Litter bins were turned into charity collection tins, and the more litter in the bin, the more money went to local charities.

Birmingham was one of seven areas that took part and the results speak for themselves:

8.9% more waste was put in the charity bins, There was 30% less litter in the streets with charity bins

The success of this campaign boiled down to the fact that most people want to do the right thing, and if they think they're doing two good deeds in one, they'll be even more willing.

Flingin's Mingin,' Zero Waste Scotland and the Transport Litter Group

This was a campaign that was held for a week back in 2013. It was aimed at discouraging people from throwing rubbish from their vehicles. The campaign's message was that people should take their rubbish home.

The campaign used posters, social media, press events, and more to spread its message and it had support from ScotRail, Transport Scotland, McDonald's, local authorities and local businesses.

The main focus was on litter prevention, though there were also litter picks held as part of the campaign. During the week of the campaign, 400 bags of litter were collected.

The campaign instantly connected with people because it used language that people were familiar with, and in that way, it also seemed more down to earth than a usual public information campaign.

In conclusion more awareness needs to be created on how littering damages the environment, to help people make the emotional decision of doing the right thing, instead of doing the lazy or 'easy' thing of dumping litter. Making it easier to bin rubbish, or making it more fun and engaging has been proven by government campaigns to work. Maybe more bins in public places would be part of the solution!

We feel if more businesses did the right thing and recycled more waste, and recycled waste correctly, it would make a hugely positive impact on the environment, sending much less to landfill. Recycling doesn't have to be complicated! At Unisan, our aim is to make recycling at work as easy as possible for your staff, thereby boosting your company's recycling rates & reducing your carbon footprint. Through cutting edge innovation & design, we make bespoke recycling bin solutions that are engaging and easy to use. Start your journey with us today, and get ready to transform your recycling rates! Office recycling bins, warehouse bins, industrial recycling or waste bins, bins for manufacturing, bins for automative and food industry.... you name it, we have the solution!

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How does litter harm the environment? | Unisan UK

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Littering is defined by when waste or discarded materials are disposed of in an improper manner, in unwanted locations. It is even classed as a type of pollution. Littering has tragic consequences on the environment.

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https://www.washingtonpost.com/opinions/2020/02/19/congrats-you-dump-100-plastic-bottles-nature-each-year/

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Dear typical American,

You may not realize it, but every year you dump the equivalent of 100 plastic water bottles into the environment. And even those of you who are religious recyclers are not helping much. Here's why:

In 2017 alone, the United States generated 268 million tons of trash. Only about a third of that was recycled or composted - most of the rest ended up in landfills. More than 300,000 tons of plastic are estimated to be littered or inadequately disposed each year. Pollution is carried to the ocean by wind, rivers or wastewater outflows. Somewhat like this:

The plastic that wound up not recycled or in landfills in 2017 added up to about two pounds per person, or the equivalent of 100 plastic bottles, according to a calculation by Jan Dell, an engineer and founder of the Last Beach Cleanup. "There's no sane way to try to collect it all," said Dell, who thinks the excessive use of single-use items is the main problem. "The most sane way is to try to use less and stop the plastic pollution problem before it starts."

To get an idea of the quantity of mismanaged trash generated in the United States, picture this: A litter cleanup organized by the advocacy group Ocean Conservancy in 2018 collected 3.9 million pounds of trash from rivers and beaches around the country in one single day. All the top 10 items collected contained plastic, from cigarette butts to food containers and grocery bags. That's more than the weight of 22 Boeing 737-800s fully loaded.

Even avid recyclers are not necessarily making a difference. For starters, the recycling industry is in crisis: There's so much junk mixed with the recyclables that the cost of separation is making the business financially unviable. The crisis worsened when China stopped taking our recyclables in 2018. Hundreds of cities reduced or stopped recycling.

As a result, a lot of good recyclable material winds up in landfills. In 2017, only 8.4 percent of the plastic used in the United States was recycled.

Long story short: Recycling remains necessary. But it simply is not a feasible solution for the volume of trash we are generating. Consider this:

We have gone overboard with plastic and yet it could get a lot worse: If we do nothing about it, the amount of plastic in the global environment could triple by 2060, according to a study published last year in Nature.

So, what can you do? A little goes a long way: Reuse all the plastic you can. And think very hard before buying anything that is wrapped in plastic and you might use only once.

Absurd America examines the idiosyncrasies of life in the United States. Suggest a topic. Sources: Plastic bottles calculation by Jan Dell, the Last Beach Cleanup, based on data from Jambeck, et al., Science Magazine (2015); Boeing; Environmental Protection Agency; U.S. Census; Greenpeace International; Hedy V. Alavi, program chair of Environmental Engineering at Johns Hopkins University. Photo illustrations and text by Sergio Peçanha.
Sign up to receive Sergio Peçanha's columns in your inbox as soon as they're published.
More from Opinions:
Ann Telnaes cartoons: Our (over) use of plastics Sergio Peçanha: Are cows better represented in the Senate than people? Sergio Peçanha: The Trump impeachment inquiry, told with maps and dancing Rudys The Post's View: Every human should be alarmed by the plastic crisis in our oceans The Post's View: Global warming is already here. Denying it is unforgivable. Sign up to receive Opinions columns like these in your inbox six days a week

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Opinion | Congrats! You dump 100 plastic bottles in nature each year.

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Dear typical American, You may not realize it, but every year you dump the equivalent of 100 plastic water bottles into the environment. And even those of you who are religious recyclers are not helping much. Here's why: In 2017 alone, the United States generated 268 million tons of trash.

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Testing out a image with other parts of rubbish using the magic of Photoshop.

Evaluation

The size of the red bull can is too big, so I may try to downsize and see if that works better.

I am considering using the cans in an animation.

This has been invaluable for testing out storytelling with motion graphics that had been utilised in another micro project.

It has been good to see the difference between characters in animation and motion graphics, and the different ways to use them for the narrative.

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test of stop motion on photographs (dead end)

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test of stop motion on photographs (dead end)

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This is a complete dead end.  This is a process I had tried before in my BA so I wanted to give it another go.

I really hated the way it came out so will not be used.
I feel it looks to choppy and messy
Looked awful, In one I was trying to go for a monster type thing and it did not work at all

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https://mariafadeeva.com/

Found this amazing artist throught pinterest while searching for motion graphic flowers.
Beaustiful colourful work, the intensitity of it gives actually gives off the feeling of calm.  The way the have made everything move in their work.
Very subtle.

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https://www.thisiscolossal.com/2017/11/surreal-animated-photos-and-artworks-by-nicolas-monterrat/

Another artist found on this article website.

Very interested in how they managed to get these all looking sooo smooth.
This would be something I would like to investigate further, now that I have the storytelling and ideas under my belt a bit more than when I first started this module.

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Illustrator and animator Nicolas Monterrat ( previously) has brought his wild imagination to historical photographs and artworks that he sets in motion and shares on Ello. The short animations blend images borrowed from old catalogues, newspapers, and textbooks with snippets of abstract footage to create collage-like images that range from humorous to downright terrifying. You can follow more from the Paris-based artist on Tumblr. (via Cross Connect)

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Surreal Animated Photos and Artworks by Nicolas Monterrat

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Illustrator and animator Nicolas Monterrat (previously) has brought his wild imagination to historical photographs and artworks that he sets in motion and shares on Ello. The short animations blend images borrowed from old catalogues, newspapers, and textbooks with snippets of abstract footage to cr

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Ok, so I made the bin smaller which works so much better, in the first test the bin overtook the image and even though it is in a way the main character you need to see more of the background to bring the story together.

Managed to work out After Effects a bit better so I could move it around.

I just need to work on the movement more, as it's a bit jolty which isn't right for this, the bin is in the water so it would be good to get a bit more flow.

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Need to be good and actually bring together a story board now that I have been informed by the photographs to start creating a narrative, as I have learnt that this does help bring the story along and work out what else I want to involve.

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This one did not work out well at all.  On after effects I managed to get the bin onto the water but then when I played with different movements it all went a bit wrong.

Not what I was going for at all, I wanted it to move around a bit more not bend out of shape.

Also need to make the bin a little smaller, so bak to photoshop it is.

Another test it is.  At least this is good practice :-)

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Thinkiung about homour that is in Domonkos work, i am obviously using a completely differnt subject but the technique of editing and animating objects pasted into a area where they wouldnt usually be is creating the narrative.

Yes you wouldnt see a bin moving around in the water but by the worlds conssumerism and non effort to dipose correctly of the over consumption, this rubbish does end up in the water.

This is why it is commical, the bin bouncing around just doesnt look right and silly

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https://artsugar.co/blogs/news/artistic-responses-and-attitudes-towards-consumerism

Is the rubbish problem caused by a hike in the recent decades of consumerism? How do artists and how have artists responded to this?

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Artistic responses and attitudes towards consumerism

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Artists, who individually contributed to artistic movements such as: Abstract Expressionism, Pop Art, Post-Painterly Abstraction, Minimalism, and Performance Art, expressed both positive and negative attitudes towards consumerism. During the 1960’s, industrialization hit American hard and artists wo…

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https://www.widewalls.ch/magazine/environmental-artists

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Environmental artists have been praised not only for great works they create, but also for raising awareness about environmental problems our planet faces... Environmental art is a very broad term, and it includes a number of different practices and movements. , Earth art, Sustainable art, Conceptual Art - these are only a few movements that can be described as environmental art as well. That is why environmental artists are using a wide range of media, techniques and styles. Even Claude Monet is often described as an environmentalist for his famous paintings where the creators explored humans' relation to nature ( London Series paintings, for example).

As a movement, environmental art emerged in the 1960s when famous individuals such as Nils Udo, Jean-Max Albert and Piotr Kowalski paved the way for this form of art expression. They have been continuously creating environment-related work since then thus spreading the ideas of environmental art. Speaking about them, it's important to make a distinction between those who are not focused so much on environmental issues and those who are part of this movement particularly aiming to explore relations between nature and the human world, aiming to raise awareness toward ecological problems. Some famous land creatives, such as and Robert Smithson (who made the famous Spiral Jetty) were criticized for permanent ecological damage some of their pieces had caused. However, working within the field of arts, many of them have spent a lot of time exploring the relationship between mankind's world and the natural environment.

How Environmental Art Can Change the World?

In general, there is no strict definition of environmental art. However, many environmental artists help us to understand nature; environmental art is concerned with environmental forces and materials; it re-envisions humans' relations with nature and remediates damaged environments. In addition, one of the main characteristics of environmental art is that is usually created for one particular place, cannot be moved, and obviously cannot be exhibited in museums or galleries. But, there are exceptions, as environmental artists use a wide range of different techniques in order to elevate environment art to new grounds.

Editors' Tip: Land and Environmental Art

The book Land and Environmental Art is edited by Jeffrey Kastner. The author describes the whole history of this movement, starting with the traditional landscape genre that was radically transformed in the 1960s. The author describes the art of Michael Heizer, Nancy Holt and Robert Smithson. This book fully documents the 1960s Land Art movement and surveys examples of Environmental Art to the present day. Brian Wallis (the contributor) discusses the key names, pieces and issues that define Land Art historically, as well as its later ramifications. Earthworks, environments, performances and actions by names ranging from Ana Mendieta in the 1970s and 80s to Peter Fend in the 1990s are illustrated with great photographs, sketches and project notes.

Scroll Down and See Some of the Most Notable Environmental Artists of Our Time!

Robert Morris - One of the Pioneers of Land Art

Apart from being one of the most important theoreticians of Minimalism, Robert Morris is also known as one of the most important environmental artists. He is better known as a conceptualist, sculptor, but many of his land and environmental art projects concern environmental issues. For example, during the 1970s, Morris began creating figurative art, much of it dealing with the fear of a nuclear war. One of his most notable land art pieces is The Observatory, located in Flevoland, in the Netherlands. This environment art piece is known for its references to Stonehenge in England.
Featured Images: Robert Morris - Observatorium
Chris Jordan - Exposing Consumeristic Culture

Chris Jordan is a Seattle-based artist who used to be a lawyer. This environmental artist became recognized for his photographs depicting garbage and other "products" of consumerist culture. His pieces can be quite shocking. He combines photography with technology and digital tools creating artworks that Jordan himself describes as "slow-motion apocalypse". Jordan's art reminds us how easily we destroy our environment and our planet.
Featured Images: Chris Jordan - Albatross chick on Midway Island, detail (courtesy of inland360.com); Chris Jordan
Agnes Denes - The Grandmother of Environmental Art Movement

Agnes Denes is a Hungarian-born conceptual artist living and working in New York City. Often called "the grandmother" of the early environmental art movements, Denes is interested in humans' perception of natural cycles and stewardship. Without any doubt, her most famous environmental art project is Wheatfield, a Confrontation from 1982. Denes spent six months creating it, which included planting a field of golden wheat on two acres of a rubble-strewn landfill near Wall Street in Manhattan.
Featured Images: Agnes Denes - Wheatfield, a Confrontation (courtesy of observer.com); Agnes Denes (courtesy of nytimes)
Edith Meusnier - Mixing Textile and Environment

Edith Meusnier is a French and environmental artist. Through her art, Meusnier examines the notions of sustainability and vulnerability. Her textile installations are placed outdoors, in places such as castles' parks, the cloisters of monasteries, parks in front of museums. She starts every new project by choosing specific location, since different settings defines her installations. Her pieces are highly colored, often joyful, however questioning important themes, such as public space and art, sustainability and other environment-related issues.
Featured Image: Edith Meusnier - Artwork
Nils-Udo - One of the Main Figures of Environmental Art Movement

Nils-Udo is one of the main figures of the environmental art movements. He has been creating this form of art for decades now and he is known for creating "utopias" in nature, trying to prove that they can be real. As the artist explains: Even if I work parallel to nature and only intervene with the greatest possible care, a basic internal contradiction remains. It is a contradiction that underlies all of my work, which itself can't escape the inherent fatality of our existence. It harms what it touches: the virginity of nature...To realize what is possible and latent in Nature, to literally realize what has never existed, utopia becomes reality. A second life suffices. The event has taken place. I have only animated it and made it visible.
Featured Images: Nils-Udo in 2011; Nils-Udo - Artwork detail (courtesy of nsconover.com)
Andy Goldsworthy - Artist and Environmentalist

British-born artist Andy Goldsworthy is another famous environmental artist who creates site-specific installations using materials such as mud, twigs, snow, colorful flowers. Goldsworthy is also an environmentalist. His works can be found in urban areas and in natural setting. This is how Goldsworthy characterizes his art: Movement, change, light, growth, and decay are the life-blood of nature, the energies that I try to tap through my work.
Featured Images: Andy Goldsworthy (courtesy of sailingdog.org); Andy Goldsworthy - Artwork (courtesy of therongolianstar.com)
Red Earth Environmental Art Group

creates site-specific work interacting with the landscape: performances, installations and participatory events. Led by artists and co-directors Caitlin Easterby and Simon Pascoe, the group has produced works in Europe, Java, Japan and Mongolia. What is particularly interesting about the art of this group is their collective and participatory approach towards art creation. They collaborate and work not only with other arts creatives, but with geologists, activists, archaeologists, and so on.
Featured Image courtesy of blackmag.com. All Images used for illustrative purposes only.

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7 Environmental Artists Fighting for Change | Widewalls

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Environmental artists have been praised not only for great works they create, but also for raising awareness about environmental problems our planet faces... Environmental art is a very broad term, and it includes a number of different practices and movements.

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Jean Baudrillard's classic text was one of the first to focus on the process and meaning of consumption in contemporary culture. Originally published in 1970, the book makes a vital contribution to current debates on consumption.

The book includes Baudrillard's most organized discussion of mass media culture, the meaning of leisure, and anomie in affluent society. A chapter on the body demonstrates Baudrillard's extraordinary prescience for flagging vital subjects in contemporary culture long before others.

This English translation begins with a new introductory essay.

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Jean Baudrillard's classic text was one of the first to focus on the process and meaning of consumption in contemporary culture. Originally published in 1970, the book makes a vital contribution to current debates on consumption. The book includes Baudrillard's most organized discussion of mass media culture, the meaning of leisure, and anomie in affluent society.

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http://louishudson.co.uk/

Just been having a look of the work of a local Birmingham animator.

A lot of their work has included using real-life with a mixture of animation.  The work is character-led and mixes in absurd comedy to tell a story.

Kinda wish I had found them earlier.  Though I am going to email them to see if they would mind answering a few questions, and see where this leads.

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Louis Hudson - Freelance Animator & Director

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Award-winning freelance animator and director from Birmingham, specialising in 2D character-led animation.

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very exciting.  A local art community in Nottingham are holding a monthly film night for local artist and filmmakers to share their films.

I have missed this month's deadline as the next film night is Thursday 19th May (next week) but I plan to create something for the next deadline which is the 1st June

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~~OPEN CALL~~

Our cinema - Open Call

Short film screening every month at The carousel, Nottingham

Open call for independent short film makers
Anyone above 16 can apply
UK based (preferably local to Nottingham)
College and university students
Independent and small companies

We are looking for short films (no longer than 25 mins) to be submitted to us for our monthly short film screening. No specific genre required.

Please email us your submission to events@thecarousel.co.uk with:

Name/company: (a short paragraph about yourself and your work is welcomed but not required)
Social media link:
Film title:
Genre:
Length:

Please also include your chosen Film(s) with an accessible link or download

Deadline: 4th May 2022 / 1st June 2022 / 6 July 2022 (Wednesday two weeks prior to event delete dates accordingly)

** Please note that all applications will be reviewed before the film showing and we will contact you accordingly.

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OPEN CALL~~ Our cinema - Open Call Short film screening every month at The carousel, Nottingham Open call for independent short film makersAnyone above 16 can applyUK based (preferably local to Nottingham)College and university studentsIndependent and small companies We are looking for short films (no longer than 25 mins) to be submitted to us for our monthly short film screening.

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I slowed down the motion of the flower by 60% and I noticed that as it morphed the pixelation changed slightly from the original, which was a happy mistake as I makes the flower look like it is changing more than the background.

This was my initial idea when I started processing this image

Evaluation

This one isn't a dead end and could be worked into the storyboard created.

I am thinking it could be when the person is looking at the beautiful landscape and this animation could keep glitching into what she is looking at.

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I managed to get movement in after effects, and this definitely gave a style I was going for, though it moves too fast so back into editing to see if I can change the speed of the morhping and pixalating

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Talked about Steve cutts and his subversion of the subjects he uses in his animation.

I will look into the historical side of animation

Think about the cartoons that have stayed with us since childhood and link this in with how Steve Cutts creates his work.  This links to people sharing stories that reinforce things in society.

Mark Fisher wrote about different times in culture and looked at it through his own experiences.

Look at Marshall McLuhan, and his quote " the medium is the message"

Look for a basic term for capitalism to reference too while talk about the subjects of steve cutts work in line with Mark Fisher

Think about post marx term hegemony in connection with my writing.

Book online "Capitalism the basics"
What is capitalism.

More notes in my notebook

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First draft of longer animation/moving image

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First draft of longer animation/moving image

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https://www.youtube.com/watch?v=0tm-Q0z4Rss

I have started to create parts of the storyboard to see how well each animated part fits together.  There is still more to be added and I am starting to think about sounds too that will add to the narrative.

This will be ongoing, as I realise the animation process can take a while when creating a longer narrative.

Evaluation so far

Negtive
It will work better with the sounds added which at this point I have not got to.

On the storyboard, it mentions the sounds of seagulls and I would like to keep to that as It will add another dimension to it.

Maybe need to rerecord the person laying in bed in a different format as I found it made the rest of the footage look cut off on the sides.

Positive

The narrative is flowing nicely, and the technique of drawing on footage worked nicely and gave the look of calm I was going for with as slight sense of doom.

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I prefer how this version came out.  The movement is flowing the way I intended and the rough sketching creates an abstract version of the waves for this piece.

There is more emotion in the way the blanket and animation move together.

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Though I enjoyed the process, I have been considering the time aspect of this medium and I think it's best to leave this project.

I still intend to research more into this process at some point to give me a wider knowledge.

Who knows maybe I the not to distant future I will find time to make a very very very short animation using this method.😁

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Just drawn on from procreate, this wasnt overly time consuming.

Evaluation

I really did not like this in the end, using the words overflow worked alot better. I hadnt utlised words that much in my work so for good practice and in all worked better for this narrative. Rather than just pople guess whats going on.

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Here are some workings of visual representation of the problems of too much rubbish.

The concept of overflowing, like a river, while at the same time showing this as this is the problem. The rubbish found in water all over the world.

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I am going to use some inspiration from this artist, I find the idea of the juxtaposition of the old images and the presents of an object that shouldn't be there something that I can utilise in my test for my idea of rubbish being in a place it should not be.

"I experiment by combining, altering, editing and reassembling using digital technology, special effects and animation to create a new kind of experience. I am interested in the poetics of time and space—to renew and transform materials, experiences and ideas. The extraordinary thing about cinema is its ability to suggest the ineffable—it is this elusive, dreamlike quality that informs my work."
Bill Domomnkos Quote from article.

His work is humorous and this works well to translate the idea he is trying to convey, bringing a dreamlike quality into reality.

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﻿

Working with photographs, film clips, and illustrations lost to time, San Francisco-based filmmaker and stereoscopist Bill Domonkos creates darkly humorous animated GIFs. The resurrected photos merged with modern animation are almost completely nonsensical in subject matter and yet perfect in their execution, the more random the better. From his artist statement:

I experiment by combining, altering, editing and reassembling using digital technology, special effects and animation to create a new kind of experience. I am interested in the poetics of time and space-to renew and transform materials, experiences and ideas. The extraordinary thing about cinema is its ability to suggest the ineffable-it is this elusive, dreamlike quality that informs my work.

These brief animations capture the filmmakers wit and aesthetic, but he uses many of the same techniques for much longer films, many of which have been shown in galleris and festivals around the world. You can explore more of Domonkos' work on Tumblr and on Ello.

© 2019 Colossal, all rights reserved. We try our best to attribute images, videos, and quotes to their creators and original sources. If you see something on Colossal that is misattributed or you would like removed, please contact us. Colossal participates in affiliate marketing programs and may earn a commission on sales through links to Etsy, Amazon, Society6, and iTunes.

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Artist Bill Domonkos Remixes Archival Footage and Photos into Surreal Animations

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Working with photographs, film clips, and illustrations lost to time, San Francisco-based filmmaker and stereoscopist Bill Domonkos creates darkly humorous animated GIFs. The resurrected photos merged with modern animation are almost completely nonsensical in subject matter and yet perfect in their

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I prefer the lips to the eyes.  This is actually a massive surprise for me as when I have been creating illustrations over the many years I have been drawing I have always concentrated on the eyes as I have felt that the eyes were the first place you see the emotions of a person.

Maybe I feel differently now, as after just creating a short animation I have managed to put in an intense emotion through the movement of the lips to a smile.

Evaluation

It has worked but having been thinking about it, it has been great for research but not for its own project.

The end

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Thinking about how I may want this to look

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Another article about the problem of waste in the rivers, oceans and so forth.

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To spare birds, fish and other wildlife from the harm caused by plastic pollution, we’re urging states, major corporations and plastic producers to to reduce the amount of plastic that ends up in our environment.

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This is sooo sad, I have been absolutly appailed by how much rubbish I have seen thrown down water areas and just out in nature.  If the bins are full there is still no excuse.  Take it home!!!!

I am starting to think of a narrative of harmless animals gettign caught up in the rubbish after being lured in by its pretty bright and beautiful packaging, the animals think that  it may be something delicoius.

But after going near it, they take a bite or lick and they are very ill or dead.

This could be a good story for non linear story structure.

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It's well known that litter is detrimental to our oceans and the rest of our environment, but did you know that it's also bad for animals? From cats to catfish, countless animals' lives can be destroyed by littering - unless we take action.

Everyday items such as empty tins and plastic bottles can be deadly for unsuspecting animals, who can get their heads stuck in them, accidently eat them, or hurt themselves on sharp edges. Here are some tips and tricks for preventing harmful litter:

Six-Pack Rings

This poor duck in Worcester that has a plastic beer can holder stuck in her mouth has so far evaded #RSPCA capture. pic.twitter.com/rdxz94f2

- Judith Haw (@Hawjjj) January 27, 2012

What can happen: Six packs of drinks cans often come strung together by plastic rings. This duck's beak got caught in one of them.

How you can help: Cut apart all sections of plastic six-pack rings, including the inner diamonds.

Fishing Line and Hooks

.@CICTMAR @A_W_Global @JustSeaTurtles Hook & 7 ft of fishing line removed from Holiday, a loggerhead sea turtle, at Gumbo Limbo in Boca pic.twitter.com/Nz2FC5v7JX

- Laura B (@Laura33477) December 6, 2016

What can happen: Birds frequently get their beaks wrapped or wings tangled up in discarded fishing line. Hooks can be swallowed or become embedded in birds' skin or beaks.

How you can help: Never go fishing! If you spot fishing litter, pick it up and dispose of it. Always speak up for fish and other marine animals and explain to others why fishing is wrong.

Beer and Soft-Drink Cans

A poor gull stuck in a beer can! Stop litter hurting our wildlife: Support Container Deposits! http://t.co/kefTDS1ZVz pic.twitter.com/Zy51ZcxmI2

- Kicking the Can (@kickingthecan) 4 April 2013

What can happen: Even the tiniest animals can fall victim to litter. Discarded drinks cans are tempting to small animals who are looking for food or shade. Animals can also be cut by cans' sharp edges.

How you can help: Be sure to dispose of your cans responsibly. Rinse and crush them before tossing them into the recycling bin. You can also carefully fold the tab back to block off the hole on the top.

Chewing Gum

What can happen: Animals often step in gum, which can become matted in their fur or feathers, making it difficult for them to move.

How you can help: Never spit gum onto the ground. Wrap it in paper, and put it in the bin.

Tins, Cups, and Jars

This is what irresponsibility leads to. young wolf stuck his head in a plastic container and for a long time was without food and water. Fortunately, people saw the animal and helped. The wolf was saved. Stop throwing garbage! 😡😡😡😡 pic.twitter.com/wAASbGyA5C

- Lana Koroleva (@LukeRussia) July 9, 2018

What can happen: Hungry animals desperate for even just a few crumbs often get their heads stuck in discarded tins, cups, and jars.

How you can help: Always rinse out containers (and place the lids back on them!) and crush tins before disposing of them.

Plastic Bottles and Bags

An endangered #redsquirrel has died after becoming trapped inside a discarded plastic jar. Very sad to see another animal suffer as a result of #roadsidelitter https://t.co/RDcJ43tJIF #dontbeatosser 🚯💔😢🐿️ pic.twitter.com/7jAX6cRkai

- Keep Britain Tidy 🚮 (@KeepBritainTidy) July 27, 2018

What can happen: Whales, turtles, and seabirds often mistake rubbish for food, and if eaten, it can choke them or cause fatal stomach or bowel obstructions. They can also get trapped, injured, and killed by discarded plastic bottles and bags.

How you can help: When shopping, take your own reusable bags whenever possible. And carry a reusable water bottle with you instead of buying bottled water.

*****

Remember: never, ever litter. Animals of all kinds often mistake litter for food or shelter. Securely cover rubbish and recycling bins so that animals can't get into them and become trapped inside. And don't forget to keep an eye out for other people's rubbish, too. Your actions could make the difference between life and death for an animal.

What Else Can You Do for Animals?

The best thing anyone can do for animals is to stop eating and wearing them. Take PETA's 30-day vegan pledge and we'll guide you through all the latest and greatest things in the vegan world - from plant-based breakfast extravaganzas to animal-friendly clothing - and give you tips on showing compassion for all living beings in every aspect of your life.

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It's well known that litter is detrimental to our oceans and the rest of our environment, but did you know that it's also bad for animals? From cats to catfish, countless animals' lives can be destroyed by littering - unless we take action.

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dead end (for now as I may continue as a personal project)

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dead end (for now as I may continue as a personal project)

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I have decided to bring this one to a end, I liked the idea, but for now it is not sitting right with me in regards to the subject.

This piece is more about me and my feelings, where as I want my work in my professional practice to be about the bigger picture of the shape of the world and its problems, which effects everyone.

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These are from a walk at the canal near me.

I have been thinking, how much of this blew into the water and how much was just thrown in????

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C riteria

Start thinking about the question you are trying to answer.

For me, part of it is thinking about how out of hand the rubbish situation is becoming.

Is there a link between people not appreciating their surroundings in regards to how they treat the planet? ie just leaving their rubbish everywhere.

Start looking through photographs and start testing

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I had an idea of a beautiful flowery and wild scenic place, and a person who seems to be enjoying it.  But then the audience finds out they are just staring at their phones looking at nature.

Update

After the audience finds this out the image starts to glitch and the flowers morph into pixilated images and then back to the beautiful scene from before.

This would then link into that after they come back to the image after the call it has completely glitched and turned into a scene of industrial destruction.
This is not the same, your thinking??? and you are right but is this what the world has come to.  In certain circumstances to be able to see nature through a screen can be good if you are unable to be there yourself, but not everyone has the need for that.

Have people forgotten how good it is for them, not only mentally but physically to be in these spaces and forget about the daily grind.

Here we have:

Protagonist- The person looking at nature

Antagonist-The Pad that is being looked at

Inciting Incident-someone video calls

Desire/Journey-wanting to enjoy nature but have been led along a path of not making that effort to seek it for yourself with technology

The crisis-when they come back to the picture of nature it has turned into a pit of rubbish and dead industrial land

The Climax-They get upset

Resolution- This resolution shows the problem with our system and society, they just swiped to a new image.  In life, we are now just given an instant solution without really working for it.  This makes us complacent.

This is not a happy story.

I am going to roughly animated this through Procreate, which of you didn't know by now is my new best friend  :-)

This will have to be an ongoing project as it will take time to make this into an animation.

I will try out animating the lettering to start and think of different ways to make the letters move.
Giving off the idea that they are unstable (like the planets environment)

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This piece of work shows what can be done when you really want people to be confronted by what is going on in the world in regards to the environement and the climate crisis.

This clock was driven round the street of Glasgow during COP26.

An important piece that utlises the acts of creativity, information and design to build something that was not only informative but will be for years to come part of our society's culture and will show that people felt that they had no choice but to blanatantly put this information out there for all to see and for everyone to no longer be blind to our awful situtation of environemental damage

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Going to this exhibition I realised that this was not something that many links to my practice, but never the less it was interesting to see.

Thinking about it, no matter the narrative of any person's artwork, there will still be some kind of storytelling attached to it.  That is what artists create.  Work that tells a story, whether it is fiction or non-fiction.

This show invites you to imagine what it would be like to encounter aliens, which has stemmed from the artist long going research into alien life and deep space.

This show lets you immerse yourself into your own imagination through what you experience while in the space.
I was able to use the VR while there which invites you to think outside your own human experience and reflect on how we connect and relate to one another.

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I'm not sure if I'm the only one, but I always thought that walnuts look like brains.  Funnily enough, they are actually really good for brain health.

Though staying on the subject,  I decided to use an image of a walnut to test out the idea of my thoughts coming out of it, but first I wanted to make it look like it was pulsating.

Thinking about the movement of an overactive brain not being able to take on all the problems in the world around her.

Evaluation

I  do think the use of walnut for the brain works well, and the background, though after using mesh warp on After Effects it doesn't look like it pulsating so will have to try again at this one and think about the moves I make with the warp application.

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i have been having a few other thoughts about this personal project and how I would like to go about it,  submission for this module is in 2/12 weeks but I will be ongoing with this project, and will just submit where I am at.

I was thinking that creating someanimations to creatively and visual show the feelings of the writing could be a good way to go.

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May 18th - submit to show work in progress - even 1 second of animation..

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Overlap is an event for animators and animation lovers to show work, share ideas and hang out in Birmingham, UK.

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Victoria Miro- John Kørner- Cosmopolitan Super Fruits

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Victoria Miro- John Kørner- Cosmopolitan Super Fruits

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An exhibition that builds on the ideas of consumerism, globalisation and the society of distribution and exchange.

This show includes numerous paintings which are slightly abstract but and hold the ideas of how our society nowadays have forgotten the ways of the local and how everything is now so accessible to us, in the ways of our shopping habits.  In this particular work Kørner utilises the ideas of the world of our habits of having everything we could ever want to eat right on our doorstep.

But thinking about these cases how does this affect the globe as a whole, the distribution of certain food products from far away places that are not staple of diets in certain cultures is this good for the planet and the ideas of how we live in an ever-evolving industrial world which we rely on.

Critique of the context and style of painting

I was drawn first of all to the narrative of this exhibition, as mentioned a little above its holds the ideas of how consumerism and the mode of how we exchange needs are causing a global catastrophe.

The painting above is the starting point of just a local shop whose one job is to bring the community what it needs to survive.  We ask a question, how far has this come?  it looks so simple.  Though on the display we see a surrounding area of sunshine and brightness, which could allude to the fruit coming from a distant place, and not local from where it is being displayed.

Do we ever think about where these products really come from or do we just keep walking and consuming and we shop for 'what we need?'

The simplicity of the work and use of colour shows in some ways a bit of hope for the society we live in, but this could be displaced, is there any other alternative to how we satisfiedour wants and needs of products.

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Almost at the end of thsi module, in a slight panic.
I have been going over and voer my padlet, hoping it makes sense to everyone.  The things is my brain goes into overdrive and I seem to have a million ideas at once and want to try them all.

So in that case i will probably still be testing ideas and creating new stories till the deadline on Monday morning :-)

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Out of all the ideas I had for this animation piece I feel that the grass growing with the heart and splashes of colour worked well with the context I was bringing to the piece.

I will say that the change of colours in the background didn't work for me.  It made it look like there was too much going on and I wanted it to be simple.

Updated
Though taking another look I have decided to keep the coloured background in those in parts of the animation.  As there is a white background in other parts it fits in nicely

At first, I thought it would be bland with just a white background, but I see this now as a way to show a sense of Pure, in regards to colour theory.

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This week I will research other practioneers who have used the medium of photography and animation together to create a story.

I could think about how I could use text within the process and also reseasrch this.

Would it change the audience's perception of the work if there was some kind of dialogue? This will be one pf my test throughout the project

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After missing my train this morning it may me think about the way people rush in life.

This is shown in a few animations that I have watched including Steve Cutts 'Happiness'

Going from one thing to the next, is pretty much how my brain works.

So the list for this week is

Create a short animation of a brain the animate my feelings, it will be good to sketch some ideas for this

start on the emotions micro project and try out a test of how to make the eyes move to create emotion (research has already been done for this.)

for the above, you could consider using collage stop motion

go through rubbish pictures on my phone and camera for project 11, start putting together ideas and how to narrate a short film through these images

Also go through some other artists work and practice and analyse how they have utilised their specialism to create a narrative

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I have been thinking to have a continuation of the first Micro project I did regarding addiction.

This is partly because I have had it on my mind throughout and been dealing with addictions of my own, as well as varying levels of bad mental health.

I believe that it could be continued in a different way and maybe more tests could be developed.

Is there such a thing as a good addiction.

I needed time to get round to this

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For another test, I utilised the collage background from the first test.

This time I drew a flower onto the background using procreate.

I made the flower the size it is as I felt like it had to be bigger than life to show the need for nature to be at the forefront of society and not the continuation of progressing technology.

Then bit by bit I pixelated the image through the procreate app to give the idea of the real being consumed and changed into an artificial imitation of itself through technology.

Evaluation-

I liked the way I could transform the flower through pixelation though it also pixelated the background.  Even though this does work, it was not completely what I was going for.

I wanted the flower alone to change over time with the background staying the same.

It would also be good to have some movement in the flower to show a metaphor for life not only in nature but in the fact the flower is free to move to change with no judgement or need of anyone else.

I will put this image into Adobe after effects and see what kind of movement I can get.

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when I took a walk along a canal the other day I was upset by the amount of rubbish I saw.  This made me want to take some photos.

This got me thinking, that maybe I should give myself the challenge to photograph the rubbish I see, no matter where I am for about a week, catalogue it and let the photographs start to create a narrative.

This for me would be a new experience of letting the photographs I capture push forward a story and inspire me to write the in-between parts to create a full rounded story with a little bit of fantasy dropped in every now and again.

To be continued!!!!!

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While I was creating this piece of work and investigating different aspects for the project, it became very apparent to me that the audience would be the everyday person, this meaning anyone.  Addiction is not something that is only experienced by what some people perceive it as the lower working class, but people at all different levels of society.  It just seems from my research it is seen in differnt ways

Addiction is not only in a form of drugs and alcohol but behaviour too.

While creating this piece I was taking inspiration from my own life and how I feel regarding alcohol and how it can easily get out of control. I was hoping that other people would relate to this too.

After reflection on this project I would like to progress maybe as a personal project as after starting to read

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Test of idea of flower to phone (dead end)

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Test of idea of flower to phone (dead end)

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I started animating the flower, just to try out the idea.

I havent gone onto the morphing to the phone, I'm thinking that maybe it would work better on a close up of the grass.
So this is a dead end on this test.

Rather than this photo.

I also think they flower should already be there rather than growing, and in the colours of an actual flower rather than black.

When this has been acheieved I can then go onto morphing into tjhe phone through animation.

I will draw up a flower I would like to portray and go from there.

In this case I may need to consider drawing out a longer storyboard to get my ideas flowing and bring in the narrative better from the thoughts I have aready had

After further thought this one is a dead end all together as other ideas have worked better and fit better into the narrative I am creating

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In Liz Blazer's book 'animated storytelling'

There is a suggestion of carrying around a story journal, in this book you will write anything that comes to mind, be it a random thought, personal experience, fantasies etc.

When I am in public I will also use it to note down how people interact with each other and what they do as they live their lives.

As well as using this to help me think of ideas for micro-projects I am going to use this as a personal project of documenting lives and happenings around me that could be turned into animation or other pieces of work. This will be so i can build myself a portfolio of stories, narratives and depictions through animation and moving image.

I have already used one from my journal for Micro Project 4.

17th of April, I sat in a coffee shop and just watched the people around me and their behaviour and noted down what I saw and thought.

Five people sitting near me, four of them on their phones

Why is this needed if you have come for a nice coffee?

Even people who have someone to talk to have their phones constantly in their face

Hand gestures of some people look like they are telling big stories

'up to no gouda'  on a t-shirt of one of the staff.  This made me giggle

The guy to my left looks nervous, talking a bit and listening to the other person  he looks like he has lost the skills to connect and now feels nervous from the human interaction

Wow suddenly more people came in, it is Sunday after all

ooooooo doggy

This place doesn't allow laptops at the weekend, looks like everyone has adhered to it.

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This does not look like what you think of a storyboard, but it is a small one to test out how I would like to create this narrative, it's my starting point.

Thinking of ways to translate the idea of technology taking over human life and nature.

I sketched a few pieces showing a place with a flower eventually turning into tech (mobile phone)

In the end, I could just have a picture of the flower on the phone screen.

This would be stating that people are becoming more likely to be looking through the lens of their phone for nature than actiually experiencing it for themselves in the real world.

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Test 1- People not connecting to each other

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Test 1- People not connecting to each other

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A quick animation of a minute to work through the idea, and surrounding context.

Two people just staring at their phones, with no connection or conversation.  I by no means think smartphones are the devil, but I think maybe in this world at the moment how smart are smartphones making us, Is it the opposite?

This is the question I am trying to answer, by showing how we are drawn to these devices soo much in our life but they have made us more non-human than ever.

In this short piece, I can Highlight the protagonist, who still has their faults, (the people sitting there) as well as the coffee cups being a secondary protagonist.

The antagonist is the phones, which are taking them away from the real world around them.

The incident is the protagonist has been taken away from regular connection through the progress of technology.

The desire will be the/Journey will be the eventual want and realisation that even though these devices can help us they can drag us into a void of no longer critically thinking about what goes on around us in the world.

The climax can be the coffee that is our secondary protagonist, whose desire and the journey is to make the person realise that being there in the situation 'meeting up for a coffee'  comes with connection and not disconnection from one another, and eventually, the people sitting there notice how helpless, sad and worried they are and start to look at each other and connect.

The resolution is they start to talk to each other realising that they don't always need to be connected to their phones to be connected and are missing the world around them.  The good and the bad

Evaluation

The context is something I would like to continue, but I did not like the way the animation turned out.  Something I may progress at some point.

Progression from this

For now, this test is a dead-end but something in the future I would continue.

I would like to test now on from this idea is to have two real-life people sitting, and bringing the coffee mugs to life, as this project is focusing on the still image and animation, and with test 1 the drawn characters were ok, but It would work better with a photo of actual people as the background.

This will add a hint of authenticity to the narrative.

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After researching the different aspects of the expression of characters through the eyes and mouth to convey certain feelings, I decided to not move any further with this at the time of research which was early on in the module.

As my skills are limited to some point with character animation and more steered towards more abstract metaphors and moving images of footage, I feel that the storytelling aspect through the ingredient that I have been researching and the different ways of showing emotion through colours, surrounding context and the instances of design of background and the main character or motion graphics fall into my practice as a visual communicator at this moment.

I can learn further skills over time in the medium of visual communication as time goes on.

Though just to have a quick feel of the basics of animated expressions I will do I small test of the eyes for certain moods.

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A very quick drawing that came from watching people in a coffee shop today.  Two people sit there just looking at their phones.

No conversation, or if there is it is very short.

I thought about how not only do the people themselves lose a connection, I had a fantasy of the coffee cups being alive and even they notice that the reason for the coffee shop meet up has been forgotten.  To sit and chat with each other, to connect, to share stories about each other's lives and laugh or cry, to be there if each other needs help in a difficult situation.

The cup and glass are feeling the neglect of the human connection that has been lost through time because of our needs ( or what we think we need from technology)

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A animation suggested to me by Matt

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Attempting to remove an unresponsive badger from a dark road, a police patrol soon realizes that the animal is not dead but rather dead drunk. Things take an even stranger turn when the creature wakes up.

a short animated film by Špela Čadež  |  Slovenia / Croatia | 2016 | 8:45 min

Grand Prix Zagreb Animation Festival
Grand Prix Bucheon International Animation Festival 
Grand Prix Holland Animation Festival
Best Narrative GLAS Animation Festival 
Sundance Festival - Official Selection
Clermont Ferrand  - Official Selection

http://www.finta.si/project/nighthawk/

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Creative Review-  The sustainability issue

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An article in Creative Review regarding the amazing power of the creative industries in working through solutions in storytelling on the subject of the environment and sustainability.

Quote- " To counteract systemic disadvantages we must understand and spread awareness of these deep-set systems, explain their consequences and explore and express their alternatives with all the creativity, patience and hope we can muster."

I have always thought that creativity has also been a great way to bring people together to talk about important subjects, and a way to come up with solutions to our environmental problems.
Creative thinking is needed in all aspects of life, to be honest, and to tap into that to create ways we can start to think logically about the way we live our lives I think is the best solution ever.

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I thought over the last month about how I want to move forward with my practice and even though I love the work and ideas of Chris Landreth, I have decided to direct my work toward the society through the eyes of capitalism, economic practice and our fragile environment and how people to today tend to navigate nature and the effect on themselves in regards to mental and physical health.

For me I feel this is the most important storytelling at this time, It is something I am very passionate about and want to speak about in my practice.

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It's been a while since I have made notes on here, though I have been putting plenty of notes in my book and transferred many ideas and tutor engagement onto here.

I am still trying to slightly grasp the formation of the structure of the story, but bit by bit I am finding my way through by taking on board more research of other practitioners and looking at the points of view and context of certain psychologists and theorists including Jean Baudrillard and Mark Fisher that a narrative for my practice is starting to come together.

The next step is to bring all the threads together and build my work through animation and moving images to create an individual narrative of my own through througher research and creative thinking

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The next thing will be design a brain in the way I think it would look in my head.

The next base would be then to use the weeks worth of short animations to create how my brain thinks and the visualisation of those thoughts come out of the brain one by one.

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This is a subject that I slightly explored in my BA, and it did in some parts help inspire  how I created work within my practice of moving images.

I have started to think that this subject is still very much a part of my work as I research the uses of storytelling and the overriding narrative when translating to an audience the effects of the way people live their lives now and the impending doom of the world's climate.

Humans more than ever are disconnected from their surroundings.........to walk with intention in surroundings that are familiar to us, we can start to see the things that we never realised were there and discover new things and see what is wrong with the world.

Today's society does not always allow for this, and part of this problem is the desire for want that pushes consumerism.

A conceptual response can sometimes affect our behaviour towards a place

In this podcast, Dr Phillipa Holloway discusses the way in which psychogeography is realising the conscious awareness of how a place effects our behaviour and feelings.

In today's world, we are unconsciously led along paths in the streets and even in parks, and I think this can lead to a lot of us being led in life especially when it comes to what people consume.

Holloway also mentioned that we become so familiarised with a place that we stop noticing its effects on us, and I see this as leading to complacency in how the area we live or like to spend our time can be misused and destroyed by ongoing environmental problems and not realising how these changed are affecting our wellbeing.

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We are the places we live, and the places we live are us. Places made by oil, coal, and gas, by roads, and by industry. Where the choices we make about what to feel and where to go are shaped by the very things that are at the heart of the climate crisis. Eek.

Psychogeography's about turning left when you're supposed to go right. Going into nuclear exclusion zones when you're not supposed to. Wandering off the beaten track, seeing what happens and who you meet. And stopping to think for a bit to notice where you are, and what's around you - and what isn't.

It's a bit of a brain-melter. So joining Dave this week is Dr Philippa Holloway - academic, author, novelist and professional psychogeographer, to talk him (very patiently) through it all. You'll find Philippa on Twitter @thejackdawspen.

Extra reading as highlighted by the owl noises:
-- 22:33: An introduction to Sartre & anti-praxis. Not for the faint of heart.
-- 23.58: How colour-changing cats ( really) might warn the future about nuclear waste.
-- 28:09. The Situationists. All very French.
-- 36.54. Philippa's thesis. I wasn't making it up, I've actually read the whole thing. It's ace.

Your Brain on Climate is a podcast about human psychology vs the climate crisis: what we think, why we think it, and how it all adds up to a planet-sized emergency. Contact the show: @brainclimate on Twitter, or hello@yourbrainonclimate.com.

The show is hosted by Dave Powell, who you can find @powellds on Twitter. All music throughout the show and audio production is by Dave, because he's far too much of a control freak to let anyone else loose on it.

Show logo by Arthur Stovell at www.designbymondial.com.

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Psychogeography, with Dr Philippa Holloway - Your Brain On Climate

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We are the places we live, and the places we live are us. Places made by oil, coal, and gas, by roads, and by industry. Where the choices we make about what to feel and where to go are shaped by the very things that are at the heart of the clima...

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I am planning to create a short storyboard.  This was a process I tried in another micro project which helped me imagine the narrative I wanted and how to move the story along.

Again I will need to think about how to structure the acts (for this I'm thinking only three) and the ingredients.

I am going to research into non linear stroytelling

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Do you need that??????

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Brain on over drive, Continual rat race, there is no escape

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I saw pieces of this work at an exhibiton at Victoria Miro a few years back, and again like many installations I had seen, this immerses you, so much that you just cant take your eyes of the very fabric of the world she is creating.

Colourful lines and shapes, minitiure videos playing in the background of random objects hanging. Felt like a distortion of life and everything that surrounds us from day to day

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Tanya Bonakdar Gallery Gagosian Gallery Victoria Miro Gallery Contacts

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Testing with collage will create the background for a motion graphic.

This is a new process for me.

I have gathered cuttings that are of nature and the landscape as well as industrial looking pieces.

I have put them together in a way to show how our landscape in today's society is evolving.

They clash, but this is what our landscape has become.

The thoughts of not knowing the difference between how the real or the simulacra make you feel anymore.  Thinking about the products and influence of the mass production juxtapositioned with the how we are becoming less influenced by nature

Narrative

In this story, nature is the protagonist and the industrial is the Antagonist.  They both have to in today's society live together, but the overpowering influence of consumerism has taken over and caused the planet to deteriorate.

"In the place of old wants, satisfied by the productions of the country, we find new wants, requiring for their satisfaction the products of distant lands and climes."  Karl Marx & Fredrich Engels, 'The Communist Manifesto'

Evaluation of process

I enjoyed the process of creating the collage and it helped me construct my idea of the narrative of the industrial and nature living in the same space.  The short animation was a very small test to see how the animation would work on top of the background.

This I felt looked good, so I will now create animation/motion graphics (character)   that depict the transition of our world through the lens of processing tech and the impacting the planet in the way it runs our economic system and produces and system of greed.

Evaluation of narrative

As I have already mentioned above, I feel I can work with the process to draw together the narrative, I just need to start the process of creating my motion graphics. First, on the grounds of illustration ad go from there.

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https://monthlyreview.org/2004/10/01/capitalism-and-the-environment/

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This is a slightly modified version of a paper prepared for the roundtable "Socialism in the World" held at Cavtat, Yugoslavia, in October 1988. It first appeared in the June 1989 issue of Monthly Review.

It is obvious that humankind has arrived at a crucial turning point in its long history. Nuclear war could terminate the whole human enterprise. But even if this catastrophic ending can be avoided, it is by no means certain that the essential conditions for the survival and development of civilized society as we know it today will continue to exist.

We live in and from a material environment consisting of land, water, and air which, historically, has always been considered to be and treated as infinitely durable and usable. This does not mean indestructible. History records many instances of the destruction (i.e., rendering unusable for human purposes) of parts of the environment by either natural processes or human agency.* As far as the natural processes are concerned, they have been operating since long before there was human life and will presumably continue to operate long after, and there is no reason to assume any unusual change in the foreseeable future.

When it comes to destruction by human agency, however, things are different. Small-scale destruction of parts of the environment have occurred throughout history, and on occasion the scale has grown to quite impressive proportions (e.g., through desertification). But even the largest of these destructive processes have remained small compared to the size of the environment as a whole. Tribes or even more complex societies have been wiped out or forced to move to new locations, but these were always local, not global, disasters. And throughout the ages-in fact, right up to the time of people now alive-it was always taken for granted that this would continue to be the case. The reason was a belief, perhaps rarely thought through or articulated, that the means possessed by human beings were too puny to be a threat to the sheer magnitude and recuperative powers inherent in the environment.

All this began to change with the explosion of the first A-bomb in August 1944. At first the new bomb was perceived as essentially an improvement on already existing weapons, but an interrelated chain of events gradually led to a radical alteration of people's consciousness. The Soviets got the bomb much sooner than had been expected, thus shattering the notion that the new force could somehow be monopolized and controlled. Then came the H-bomb with its vastly greater destructive potential; and this in turn was followed by the escalating arms race between the superpowers which, despite much talk and a few largely symbolic treaties, continues to this day. It is now commonplace that each superpower has the capability to wipe out its rival several times over, and ongoing research into the consequences of all-out nuclear war has demonstrated beyond a reasonable doubt that the catastrophe could not be confined to the belligerents but would inexorably spread, in such ghastly forms as radioactive poisoning and nuclear winter, to the entire globe. Thus in the incredibly short time of less than half a century, humankind has gone from blissful confidence in the security of its habitat to the certainty that its own survival, as well as the capacity of its natural environment to sustain life as we have known it, could be cut short in an instantaneous paroxysm of nuclear violence.

The full implications of this unprecedented change in human consciousness will obviously not become clear for a long time to come. But it is already evident that sensitivity to threats to the human habitat has spread rapidly from its origins in the overwhelming destructive power of nuclear weapons to encompass a variety of ecological processes and trends, most of which have been known and even studied for a century or more, but which have been increasingly seen in a new light since the beginning of the nuclear age.* Once you know for certain that human agency can render the planet unfit for human habitation, you can hardly help asking whether nuclear weapons are the only possible source of such a catastrophe. Viewed from this angle, much that used to be regarded as merely the unavoidable negative side of progress is now seen to be part of a looming threat to the continuation of life on earth. It is hard to imagine a more fundamental change in perception and truly astonishing to reflect on how rapidly it has come about.

Within the framework of this perception, there are of course different positions. At one extreme are those who believe the danger is much exaggerated-perhaps a reflection of the pessimistic spirit of the time, itself largely a product of the nuclear scare. Let the nuclear arms race be brought under control, which now seems increasingly possible, and environmental deterioration will be seen in its true dimensions, not as a prelude to doomsday but as a series of problems that have been created by human agency and can be dealt with in the same way. At the other extreme are those who argue that things have really gotten much worse in the last half century and that we are now close enough to the point of no return to warrant the most gloomy forebodings.

The way the arguments pro and con are presented, these two positions often appear to be polar opposites. But this is an illusion: They actually have a common basis in the belief that if present trends continue to operate, it is only a matter of time until the human species irredeemably fouls its own nest.

Against this background it seems clear that everyone who shares the belief in the fatal implications of current trends has a moral obligation on the one hand to try to understand the processes that underlie these trends, and on the other to draw appropriate conclusions about what has to be done to reverse them before it is too late.

The Processes of Environmental Deterioration

There is a vast literature on this subject, much of it of high quality, and this is obviously not the place to try to describe or summarize it. For present purposes, it is enough to point out that by far the largest part of the problem has its origin in the functioning of the world's economy as it has developed in the last three or four centuries. This of course has been the period of the emergence of capitalism and of the bourgeois and industrial revolutions, of coal and steam and railroads, of steel and electricity and chemicals, of petroleum and the automobile, of mechanized and chemicalized agriculture-and of the rapid expansion and urbanization of the world's population in response to the massive growth of the forces of production at the disposal of humankind. All of these developments and others directly and indirectly related to them have involved putting growing pressure on the earth's resources, introducing new methods and substances into the processes of producing, using, and disposing of the worn-out remains of the things people, groups, and societies require for their reproduction and expansion. Perhaps there have been cases where these activities were planned and carried out with a view to respecting and preserving the natural cycles which over the ages have permitted living creatures, including human beings, to adjust to, and achieve a rough equilibrium with, their environment. But if there have been such cases, they have been so few and far between as to have left little if any trace in the historic record. The new departures that have combined to revolutionize the human economy have always originated with individuals or, relative to the whole, small groups in the expectation of achieving specific benefits for themselves. The indirect effects on the environment did not concern them; or, if they thought about it at all, they took for granted that whatever adverse effects their actions might have would be easily absorbed or compensated for by nature's seemingly limitless resilience.

We now know that such ways of thinking about the processes in question were and are delusory. Activities damaging to the environment may be relatively harmless when introduced on a small scale; but when they come into general use and spread from their points of origin to permeate whole economies on a global scale, the problem is radically transformed. This is precisely what has happened in case after case, especially in the half century following the Second World War, and the cumulative result is what has become generally perceived as the environmental crisis.

The major elements of this crisis are well known and require no elaboration here: the greenhouse effect stemming from the massive combustion of fossil fuels, combined with the accelerating destruction of carbon dioxide-absorbing tropical forests; acid rain which destroys lakes and forests and other forms of vegetation, also caused by fossil-fuel combustion; the weakening of the ozone layer in the upper atmosphere that protects human beings and other forms of life from the sun's potentially deadly ultraviolet rays; destruction of top soils and expansion of deserts by predatory agricultural methods; fouling of land and surface waters through industrial dumping and excessive use of chemical fertilizers and pesticides; mounting pollution of the oceans once thought to be an infinite repository of all kinds of wastes but now, in what has become one of the most visible aspects of the environmental crisis, seen to be fragile and vulnerable like all the rest.

This list is of course far from complete and hardly more than hints at the far-reaching and often subtle interconnections of the various components of the environmental crisis.* But it is enough to indicate the general nature of the crisis as a radical (and growing) disjunction between on the one hand the demands placed on the environment by the modern global economy, and on the other the capacity of the natural forces embedded in the environment to meet these demands.

What Has to Be Done?

Since there is no way to increase the capacity of the environment to bear the burdens placed on it, it follows that the adjustment must come entirely from the other side of the equation. And since the disequilibrium has already reached dangerous proportions, it also follows that what is essential for success is a reversal, not merely a slowing down, of the underlying trends of the last few centuries.

We have seen that at the heart of these trends is an economic system driven by the energy and inventiveness of entities-individuals, partnerships, in the last hundred years corporations-out to advance their own economic interests with little thought and less concern for the effects on either society as a whole or the natural environment which it draws on for the essentials of its existence. Already a century and a half ago Marx and Engels, in a memorable passage from the Communist Manifesto, paid a remarkable tribute to the energy and achievements of the then young capitalist mode of production:

The bourgeoisie, during its rule of scarce one hundred years, has created more massive and more colossal productive forces than have all preceding generations together. Subjection of nature's forces to man's machinery, application of chemistry to industry and agriculture, steam navigation, railways, electric telegraphs, clearing of whole continents for cultivation, canalization of rivers, whole populations conjured out of the ground-what earlier century had even a presentiment that such forces slumbered in the lap of social labor?

Actually, when this was written in 1847 the rule of the bourgeoisie extended to only a small part of the earth's surface, and the new sciences and technologies harnessing the forces of nature to human purposes were still in their infancy. Since then capitalism has spread to become a truly global system, and the development and application of science and technology to industry and agriculture have progressed beyond anyone's wildest dreams a hundred and fifty years ago. Despite all the dramatic changes, however, the system remains in essence what it was at its birth, a juggernaut driven by the concentrated energy of individuals and small groups single-mindedly pursuing their own interests, checked only by their mutual competition, and controlled in the short run by the impersonal forces of the market and in the longer run, when the market fails, by devastating crises. Implicit in the very concept of this system are interlocked and enormously powerful drives to both creation and destruction. On the plus side, the creative drive relates to what humankind can get out of nature for its own uses; on the negative side, the destructive drive bears most heavily on nature's capacity to respond to the demands placed on it.*

Sooner or later, of course, these two drives are contradictory and incompatible. And since, as argued above, the adjustment must come from the side of the demands imposed on nature rather than from the side of nature's capacity to respond to these demands, we have to ask whether there is anything about capitalism as it has developed over recent centuries to cause us to believe that the system could curb its destructive drive and at the same time transform its creative drive into a benign environmental force.

The answer, unfortunately, is that there is absolutely nothing in the historic record to encourage such a belief. The purpose of capitalist enterprise has always been to maximize profit, never to serve social ends. Mainstream economic theory since Adam Smith has insisted that by directly maximizing profit the capitalist (or entrepreneur) is indirectly serving the community. All the capitalists together, maximizing their individual profits, produce what the community needs while keeping each other in check by their mutual competition. All this is true, but it is far from being the whole story. Capitalists do not confine their activities to producing the food, clothing, shelter, and amenities society needs for its existence and reproduction. In their single-minded pursuit of profit, in which none can refuse to join on pain of elimination, capitalists are driven to accumulate ever more capital, and this becomes both their subjective goal and the motor force of the entire economic system.

It is this obsession with capital accumulation that distinguishes capitalism from the simple system for satisfying human needs it is portrayed as in mainstream economic theory. And a system driven by capital accumulation is one that never stands still, one that is forever changing, adopting new and discarding old methods of production and distribution, opening up new territories, subjecting to its purposes societies too weak to protect themselves. Caught up in this process of restless innovation and expansion, the system rides roughshod over even its own beneficiaries if they get in its way or fall by the roadside. As far as the natural environment is concerned, capitalism perceives it not as something to be cherished and enjoyed but as a means to the paramount ends of profit-making and still more capital accumulation.

Such is the inner nature, the essential drive of the economic system that has generated the present environmental crisis. Naturally it does not operate without opposition. Efforts have always been made to curb its excesses, not only by its victims but also in extreme cases by its more far-sighted leaders. Marx, in Capital, wrote feelingly about nineteenth-century movements for factory legislation and the ten-hours bill, describing the latter as a great victory for the political economy of the working class. And during the present century conservation movements have emerged in all the leading capitalist countries and have succeeded in imposing certain limits on the more destructive depredations of uncontrolled capital. It is hardly an exaggeration to say that without constraints of this kind arising within the system, capitalism by now would have destroyed both its environment and itself.

Not surprisingly, such constraints, while sometimes interfering with the operations of individual capitalists, never go so far as to threaten the system as a whole. Long before that point is reached, the capitalist class, including the state which it controls, mobilizes its defenses to repulse environmental-protection measures perceived as dangerously extreme. Thus despite the development of a growing environmental consciousness and the movements to which it has given rise in the last century, the environmental crisis continues to deepen. There is nothing in the record or on the horizon that could lead us to believe the situation will significantly change in the foreseeable future.

If this conclusion is accepted-and it is hard to see how anyone who has studied the history of our time can refuse, at the very least, to take it seriously-it follows that what has to be done to resolve the environmental crisis, hence also to insure that humanity has a future, is to replace capitalism with a social order based on an economy devoted not to maximizing private profit and accumulating ever more capital but rather to meeting real human needs and restoring the environment to a sustainably healthy condition.

This, in a nutshell, is the meaning of revolutionary change today. Lesser measures of reform, no matter how desirable in themselves, could at best slow down the fatal process of decline and fall that is already so far advanced.

Is the position taken here in effect a restatement of the traditional Marxist case for a socialist revolution? Yes, but with one crucial proviso: The socialism to be achieved must be conceived, as Marx and Engels always conceived it, as the quintessential negation of capitalism-not as a society that eliminates the most objectionable features of capitalism such as gross inequality of income, mass unemployment, cyclical depressions, financial panics, and so on. It is capitalism itself, with its in-built attitude toward human beings and nature alike as means to an alien end that must be rooted out and replaced. Humanity, having learned to perform miracles of production, must at last learn to use its miraculous powers not to degrade itself and destroy its home but to make the world a better place to live in for itself and its progeny for millennia to come.

One final note. We call the society with these revolutionary aims socialism. But it certainly will not and cannot be anyone's utopia. No doubt it will do many things badly, at least for a long time, probably worse than capitalism. The relevant questions are different: whether it has once and for all stopped emulating capitalism, set itself the right goals, and is genuinely striving to achieve them. If and when these questions can be answered in the affirmative, we shall be on the road to salvation.

*The distinction should not be drawn too sharply: Many environmental changes are the combined result of both natural processes and human agency. But there are some like the great geological transformations in which human agency plays no part, and others like the effects of deforestation caused by overcutting for which human agency can be considered solely responsible.

*The connection between environmental concerns and the opening of the nuclear age was well expressed by Barry Commoner, one of the pioneers of a genuinely scientific approach to ecological problems, when he wrote in his pathbreaking work, The Closing Circle (1971): "I learned about the environment from the United States Atomic Energy Commission in 1953. Until then, like most people, I had taken the air, water, soil, and our natural surroundings more or less for granted....In 1946 the Atomic Energy Commission (AEC) was created to take charge of a massive U.S. program to develop the military, scientific, and industrial potential of atomic and nuclear energy. By 1951 the United States had exploded sixteen test bombs and the Soviet Union thirteen, and the following year Great Britain joined in with its first test." (pp. 49–50)

* For a sophisticated analysis stressing the element of interconnectedness, see the above-cited work of Barry Commoner, The Closing Circle.

* A more comprehensive analysis would have to deal with the creative/destructive drives of "really existing socialism." For the most part, however, the countries in question have felt obliged to emulate, and in the process try to catch up with, the more developed leading capitalist countries. Under these circumstances, the impact of "really existing socialism" on the environment has been hardly distinguishable from that of capitalism. Whether a society of this type in a different global context-one in which it felt secure and able to pursue its own goals free of outside pressure-would have a qualitatively different impact on the environment, is an interesting question but one that lies outside the scope of this essay.

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Monthly Review | Capitalism and the Environment

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This is a slightly modified version of a paper prepared for the roundtable "Socialism in the World" held at Cavtat, Yugoslavia, in October 1988. It first appeared in the June 1989 issue of Monthly Review. It is obvious that humankind has arrived at a crucial turning point in its long history.

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Evaluation of structure and ingredients of the story

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Evaluation of structure and ingredients of the story

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This is the first time I was thinking about how to structure a story through the 3/5 acts.  At this point, I have only made it to three, but the story is not finished. Updated, I now have 5 acts

Writing down the ingredients needed in a narrative and pinpointing the character and events in my story takes those parts it has made it clearer to me how to continue chronicling the events that lead to the conclusion.

I am still on the fence on how well this process sits with me so now I am wanting to start a micro project that looks at how to work with non-linear story structure while utilizing information orientated motion graphics as I'm starting to feel that may well sit better with my practice, or at least have the option to create my narrative with an amalgamation of both character-based and motion graphics.

Updated

I will push this project a little further and create the first parts of my animation which include the girl laying in bed the cartoon eyes.

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The subject of this micro project is something that is close to my heart, not only the environmental impact we humans have had on the planet but also the amount some people seem to have lost connection to the very thing that keeps us alive..... the planet, nature and seem to be losing connection with the surroundings and each other.

I understand that technology and the capitalist society is not to be completely blamed for these problems that arise in life, but they are the ones that as an artist and visual communicator can hopefully start to open people's eyes and make them aware that we are on a slippery path to having the world in despair for the next generation.

This is why I find the work of Steve Cutts inspiring as I relate what he conveys in his work, the idea of lost connection through how the world is run by technology and a rigid society of mass consumerism.

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The Nature Conservancy: If We Don't Protect Nature, How Can Nature

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Film advertisement created by Superconductor, United States for The Nature Conservancy, within the category: Public Interest, NGO.

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West utilizes collage to create a language of how he sees the landscape.  This could be something useful to use in my work at some point.
Helps me see how other practitioners put together in a visual language the importance of nature

I will think about the background of my work

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Benjamin West is a UK based multi-disciplinary artist and photographer who creates work that is inspired by nature and ecological issues

Benjamin West is a UK based multi-disciplinary artist and photographer who creates work that is inspired by nature and ecological issues

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Benjamin West is a UK based multi-disciplinary artist and photographer who creates work that is inspired by nature and ecological issues Benjamin West is a UK based multi-disciplinary artist and photographer who creates work that is inspired by nature and ecological issues

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https://oceanic.global/tan-zi-xi/

"In 2008, I created “An Effort Most Futile,” a series of illustrations that communicates and shares my concerns about the environment. Although I am very concerned about the environment and truly wish to be part of the solution, I feel it isn’t as easily done as commonly advocated."
A quote from the article

An artist to look up to, the concerns within their artwork show the problems of the fight between the natural and industrial world and the effect it is having on every part of life.

We try our best to communicate and solve these problems no matter how much we feel like we are not always heard

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Artist and illustrator Tan Zi Xi's work mixes wry, playful humor with the realities of ocean pollution. Her early collection, "An Effort Most Futile," showcases cartoonish scenes of overwhelming environmental challenges. More recently, her large-scale installation of recycled oceanic debris- "Plastic Ocean" -was on display at the Singapore Art Museum from May to August 2016. Composed of over 20,000 pieces of refuse suspended motionless, "Plastic Ocean" is an eerily immersive reminder of the permanence of our impact on the oceans.
How long have you been an artist? How would you describe your work and your artistic background?
My background is in illustration, and I have been an illustrator for about six years now after graduating from Central Saint Martins in London. Between illustration and art, I feel it is difficult to draw a line. With both, I try to create works that are purposeful and communicate a subject that I feel strongly for, which could be in the form of illustration, sculpture, or installation.
What sparked your mission to raise awareness through your art? Is there a particular moment or realization that inspired you to focus on the relationship between the natural and built environments?
In 2008, I created "An Effort Most Futile," a series of illustrations that communicates and shares my concerns about the environment. Although I am very concerned about the environment and truly wish to be part of the solution, I feel it isn't as easily done as commonly advocated. Pollution and the destruction of our environment occurs on a very large scale; rescuing it is really beyond me as an individual, and this was my initial motive when I created the illustrations.

In 2015, I found the perfect opportunity to revisit this subject when the Singapore Art Museum invited me to be part of Imaginarium: Under the Water, Over the Sea. Inspired by "An Effort Most Futile," I wanted to recreate a physical manifestation of the Pacific Garbage Patch, where children and adults could experience being immersed in a space covered with trash, simulating the environment of the 'plastic pool.'
What's your process like? How do you find inspiration, how long does a piece take, and when do you determine it's complete?
My inspiration mainly dwells in 'misadventures' and 'the grotesque.' I have a fascination with dark humor and tend to have a strange slant to most of my work when I push to exaggerate some of the themes. I am always intrigued by unusual experiences and the oddballs of society. Sometimes I pick up on interesting news articles or I come across some documentaries that lead on to more research, and then I build a thought around that. My personal mishaps help shape the quirky humor in my work. Some works may take as long as a year or more to conceptualize and complete; some are too painful to be completed.
What is one of the most memorable experiences of your professional career as an artist and ocean/environmental advocate?
I think one of the most memorable experience was the process of creating Plastic Ocean, as it was rather painful in many ways. Apart from the sheer amount of work when it came to collecting, cleaning, and organizing 26,000 pieces of discarded plastics for the installation, the process of receiving and learning just how much waste we produce daily was rather stressful. When we start to study and be conscious of our waste, it will hit home just how unsustainable our culture of convenience is. This revelation is life-changing.
What draws you to the oceans, specifically?
It started when I first read about the news of the Pacific Garbage Patch in the papers when I was still a student living in London. It is incomprehensible and alarming to learn that our human waste had been carelessly dumped into oceans and was affecting the marine creatures greatly. This sparked the series "An Effort Most Futile," back in 2008.

Learn more about Tan Zi Xi here, or follow her on Instagram.

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Artist and illustrator Tan Zi Xi's work mixes wry, playful humor with the realities of ocean pollution. Her early collection, "An Effort Most Futile," showcases cartoonish scenes of overwhelming environmental challenges. More recently, her large-scale installation of recycled oceanic debris-"Plastic Ocean"-was on display at the Singapore Art Museum from May to August 2016.

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https://www.nationalgeographic.com/environment/article/plastic-pollution

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The world’s plastic pollution crisis, explained

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Much of the planet is swimming in discarded plastic, which is harming animal and possibly human health. Can plastic pollution be cleaned up?

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This is from the turning Point video.  This is what we are currently creating in the oceans the number of products and items people purchase that are not needed and this all ends up in the landscape and the sealife is dying.

Steve Cutts has turned it on its head and shows humans being affected by this crisis, maybe in the hopes that people will think about this subject of our mess of a planet.

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Almost finished the week (slight evauation)

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Almost finished the week (slight evauation)

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As these are very little animations that are just things just popping into my head and animating feelings, right now I really want to draw brain and think about including these shapes and colours in what I have been animating in the week challenge.

Maybe have them jumping out of the brain

Along with the contexts of the main thoughts I have been having recently.

Hopelessness about the situation of the world right now, the never-ending austerity and capitalism vision for everything we live and consume.

All my research, especially recently has started to mainly focus on artists and theorists that handle these subjects in their own work.

I want to use the idea of the brain with illustrative feelings and contexts of the above situation that could in the long run be the base of a narrative for an animation.