Journal articles on the topic 'Recent past and future sea-level changes, mountain glaciers'

Abstract Global sea level rise due to the thermal expansion of the warming oceans and freshwater input from melting glaciers and ice sheets is threatening to inundate low-lying islands and coastlines worldwide. At present the global mean sea level rises at 3.1 ± 0.7 mm yr−1 with an accelerating tendency. However, the magnitude of recent decadal sea level trends varies greatly spatially, attaining values of up to 10 mm yr−1 in some areas of the western tropical Pacific. Identifying the causes of recent regional sea level trends and understanding the patterns of future projected sea level change is of crucial importance. Using a wind-forced simplified dynamical ocean model, the study shows that the regional features of recent decadal and multidecadal sea level trends in the tropical Indo-Pacific can be attributed to changes in the prevailing wind regimes. Furthermore, it is demonstrated that within an ensemble of 10 state-of-the-art coupled general circulation models, forced by increasing atmospheric CO2 concentrations over the next century, wind-induced redistributions of upper-ocean water play a key role in establishing the spatial characteristics of projected regional sea level rise. Wind-related changes in near-surface mass and heat convergence near the Solomon Islands, Tuvalu, Kiribati, the Cook Islands, and French Polynesia oppose—but cannot cancel—the regional signal of global mean sea level rise.

The dynamics of ocean-terminating outlet glaciers are an important component of ice-sheet mass balance. Using satellite imagery for the past 40 years, we compile an approximately decadal record of outlet-glacier terminus position change around the entire East Antarctic Ice Sheet (EAIS) marine margin. We find that most outlet glaciers retreated during the period 1974–1990, before switching to advance in every drainage basin during the two most recent periods, 1990–2000 and 2000–2012. The only exception to this trend was in Wilkes Land, where the majority of glaciers (74%) retreated between 2000 and 2012. We hypothesize that this anomalous retreat is linked to a reduction in sea ice and associated impacts on ocean stratification, which increases the incursion of warm deep water toward glacier termini. Because Wilkes Land overlies a large marine basin, it raises the possibility of a future sea level contribution from this sector of East Antarctica.

This paper is meant to study the apocalyptic scenario of the at the perspectives of the Great Acceleration. the apocalyptic scenario is not a pure imagination of the literature works. Instead, scientific evidences are in favour of dramatic change in the climatic conditions related to the climax of Man actions. the modelling of the future climate leads to horrible situations including intolerable temperatures, dryness, tornadoes, and noticeable sear level rise evading coastal regions. Going far from these scientific claims, Homo Sapiens Sapiens extended his imagination through the Climate-Fiction (cli-fi) to propose a dramatic end. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Introduction The Great Acceleration may be considered as the Late Anthropocene in which Man actions reached their climax to lead to dramatic climatic changes paving the way for a possible apocalyptic scenario threatening the existence of the humanity. So, the apocalyptic scenario is not a pure imagination of the literature works. Instead, many scientific arguments especially related to climate change are in favour of the apocalypse1. As a matter of fact, the modelling of the future climate leads to horrible situations including intolerable temperatures (In 06/07/2021, Kuwait recorded the highest temperature of 53.2 °C), dryness, tornadoes, and noticeable sear level rise evading coastal regions. These conditions taking place during the Great Acceleration would have direct repercussions on the human species. Considering that the apocalyptic extinction had really caused the disappearance of many stronger species including dinosaurs, Homo Sapiens Sapiens extended his imagination though the Climate-Fiction (cli-fi) to propose a dramatic end due to severe climate conditions intolerable by the humankind. The mass extinction of animal species has occurred several times over the geological ages. Researchers have a poor understanding of the causes and processes of these major crises1. Nonetheless, whatever the cause of extinction, the apocalyptic scenario has always been present in the geological history. For example, dinosaurs extinction either by asteroids impact or climate changes could by no means denies the apocalyptic aspect2.At the same time as them, many animal and plant species became extinct, from marine or flying reptiles to marine plankton. This biological crisis of sixty-five million years ago is not the only one that the biosphere has suffered. It was preceded and followed by other crises which caused the extinction or the rarefaction of animal species. So, it is undeniable that many animal groups have disappeared. It is even on the changes of fauna that the geologists of the last century have based themselves to establish the scale of geological times, scale which is still used. But it is no less certain that the extinction processes, extremely complex, are far from being understood. We must first agree on the meaning of the word "extinction", namely on the apocalyptic aspect of the concept. It is quite understood that, without disappearances, the evolution of species could not have followed its course. Being aware that the apocalyptic extinction had massacred stronger species that had dominated the planet, Homo Sapiens Sapiens has been aware that the possibility of apocalyptic end at the perspective of the Anthropocene (i.e., Great Acceleration) could not be excluded. This conviction is motivated by the progressive defaunation in some regions3and the appearance of alien species in others related to change of mineralogy and geochemistry4 leading to a climate change during the Anthropocene. These scientific claims fed the vast imagination about climate change to set the so-called cli-fi. The concept of the Anthropocene is the new geological era which begins when the Man actions have reached a sufficient power to modify the geological processes and climatic cycles of the planet5. The Anthropocene by no means excludes the possibility of an apocalyptic horizon, namely in the perspectives of the Great Acceleration. On the contrary, two scenarios do indeed seem to dispute the future of the Anthropocene, with a dramatic cross-charge. The stories of the end of the world are as old as it is, as the world is the origin of these stories. However, these stories of the apocalypse have evolved over time and, since the beginning of the 19th century, they have been nourished particularly by science and its advances. These fictions have sometimes tried to pass themselves off as science. This is the current vogue, called collapsology6. This end is more than likely cli-fi driven7and it may cause the extinction of the many species including the Homo Sapiens Sapiens. In this vein, Anthropocene defaunation has become an ultimate reality8. More than one in eight birds, more than one in five mammals, more than one in four coniferous species, one in three amphibians are threatened. The hypothesis of a hierarchy within the living is induced by the error of believing that evolution goes from the simplest to the most sophisticated, from the inevitably stupid inferior to the superior endowed with an intelligence giving prerogative to all powers. Evolution goes in all directions and pursues no goal except the extension of life on Earth. Evolution certainly does not lead from bacteria to humans, preferably male and white. Our species is only a carrier of the DNA that precedes us and that will survive us. Until we show a deep respect for the biosphere particularly, and our planet in general, we will not become much, we will remain a predator among other predators, the fiercest of predators, the almighty craftsman of the Anthropocene. To be in the depths of our humanity, somehow giving back to the biosphere what we have taken from it seems obvious. To stop the sixth extinction of species, we must condemn our anthropocentrism and the anthropization of the territories that goes with it. The other forms of life also need to keep their ecological niches. According to the first, humanity seems at first to withdraw from the limits of the planet and ultimately succumb to them, with a loss of dramatic meaning. According to the second, from collapse to collapse, it is perhaps another humanity, having overcome its demons, that could come. Climate fiction is a literary sub-genre dealing with the theme of climate change, including global warming. The term appears to have been first used in 2008 by blogger and writer Dan Bloom. In October 2013, Angela Evancie, in a review of the novel Odds against Tomorrow, by Nathaniel Rich, wonders if climate change has created a new literary genre. Scientific basis of the apocalyptic scenario in the perspective of the Anthropocene Global warming All temperature indices are in favour of a global warming (Fig.1). According to the different scenarios of the IPCC9, the temperatures of the globe could increase by 2 °C to 5 °C by 2100. But some scientists warn about a possible runaway of the warming which can reach more than 3 °C. Thus, the average temperature on the surface of the globe has already increased by more than 1.1 °C since the pre-industrial era. The rise in average temperatures at the surface of the globe is the first expected and observed consequence of massive greenhouse gas emissions. However, meteorological surveys record positive temperature anomalies which are confirmed from year to year compared to the temperatures recorded since the middle of the 19th century. Climatologists point out that the past 30 years have seen the highest temperatures in the Northern Hemisphere for over 1,400 years. Several climatic centres around the world record, synthesize and follow the evolution of temperatures on Earth. Since the beginning of the 20th century (1906-2005), the average temperature at the surface of the globe has increased by 0.74 °C, but this progression has not been continuous since 1976, the increase has clearly accelerated, reaching 0.19 °C per decade according to model predictions. Despite the decline in solar activity, the period 1997-2006 is marked by an average positive anomaly of 0.53 °C in the northern hemisphere and 0.27 °C in the southern hemisphere, still compared to the normal calculated for 1961-1990. The ten hottest years on record are all after 1997. Worse, 14 of the 15 hottest years are in the 21st century, which has barely started. Thus, 2016 is the hottest year, followed closely by 2015, 2014 and 2010. The temperature of tropical waters increased by 1.2 °C during the 20th century (compared to 0.5 °C on average for the oceans), causing coral reefs to bleach in 1997. In 1998, the period of Fort El Niño, the prolonged warming of the water has destroyed half of the coral reefs of the Indian Ocean. In addition, the temperature in the tropics of the five ocean basins, where cyclones form, increased by 0.5 °C from 1970 to 2004, and powerful cyclones appeared in the North Atlantic in 2005, while they were more numerous in other parts of the world. Recently, mountains of studies focused on the possible scenario of climate change and the potential worldwide repercussions including hell temperatures and apocalyptic extreme events10 , 11, 12. Melting of continental glaciers As a direct result of the global warming, melting of continental glaciers has been recently noticed13. There are approximately 198,000 mountain glaciers in the world; they cover an area of approximately 726,000 km2. If they all melted, the sea level would rise by about 40 cm. Since the late 1960s, global snow cover has declined by around 10 to 15%. Winter cold spells in much of the northern half of the northern hemisphere are two weeks shorter than 100 years ago. Glaciers of mountains have been declining all over the world by an average of 50 m per decade for 150 years. However, they are also subject to strong multi-temporal variations which make forecasts on this point difficult according to some specialists. In the Alps, glaciers have been losing 1 meter per year for 30 years. Polar glaciers like those of Spitsbergen (about a hundred km from the North Pole) have been retreating since 1880, releasing large quantities of water. The Arctic has lost about 10% of its permanent ice cover every ten years since 1980. In this region, average temperatures have increased at twice the rate of elsewhere in the world in recent decades. The melting of the Arctic Sea ice has resulted in a loss of 15% of its surface area and 40% of its thickness since 1979. The record for melting arctic sea ice was set in 2017. All models predict the disappearance of the Arctic Sea ice in summer within a few decades, which will not be without consequences for the climate in Europe. The summer melting of arctic sea ice accelerated far beyond climate model predictions. Added to its direct repercussions of coastal regions flooding, melting of continental ice leads to radical climatic modifications in favour of the apocalyptic scenario. Fig.1 Evolution of temperature anomaly from 1880 to 2020: the apocalyptic scenario Sea level rise As a direct result of the melting of continental glaciers, sea level rise has been worldwide recorded14 ,15. The average level of the oceans has risen by 22 cm since 1880 and 2 cm since the year 2000 because of the melting of the glaciers but also with the thermal expansion of the water. In the 20th century, the sea level rose by around 2 mm per year. From 1990 to 2017, it reached the relatively constant rate of just over 3mm per year. Several sources contributed to sea level increase including thermal expansion of water (42%), melting of continental glaciers (21%), melting Greenland glaciers (15%) and melting Antarctic glaciers (8%). Since 2003, there has always been a rapid rise (around 3.3 mm / year) in sea level, but the contribution of thermal expansion has decreased (0.4 mm / year) while the melting of the polar caps and continental glaciers accelerates. Since most of the world’s population is living on coastal regions, sea level rise represents a real threat for the humanity, not excluding the apocalyptic scenario. Multiplication of extreme phenomena and climatic anomalies On a human scale, an average of 200 million people is affected by natural disasters each year and approximately 70,000 perish from them. Indeed, as evidenced by the annual reviews of disasters and climatic anomalies, we are witnessing significant warning signs. It is worth noting that these observations are dependent on meteorological survey systems that exist only in a limited number of countries with statistics that rarely go back beyond a century or a century and a half. In addition, scientists are struggling to represent the climatic variations of the last two thousand years which could serve as a reference in the projections. Therefore, the exceptional nature of this information must be qualified a little. Indeed, it is still difficult to know the return periods of climatic disasters in each region. But over the last century, the climate system has gone wild. Indeed, everything suggests that the climate is racing. Indeed, extreme events and disasters have become more frequent. For instance, less than 50 significant events were recorded per year over the period 1970-1985, while there have been around 120 events recorded since 1995. Drought has long been one of the most worrying environmental issues. But while African countries have been the main affected so far, the whole world is now facing increasingly frequent and prolonged droughts. Chile, India, Australia, United States, France and even Russia are all regions of the world suffering from the acceleration of the global drought. Droughts are slowly evolving natural hazards that can last from a few months to several decades and affect larger or smaller areas, whether they are small watersheds or areas of hundreds of thousands of square kilometres. In addition to their direct effects on water resources, agriculture and ecosystems, droughts can cause fires or heat waves. They also promote the proliferation of invasive species, creating environments with multiple risks, worsening the consequences on ecosystems and societies, and increasing their vulnerability. Although these are natural phenomena, there is a growing understanding of how humans have amplified the severity and impacts of droughts, both on the environment and on people. We influence meteorological droughts through our action on climate change, and we influence hydrological droughts through our management of water circulation and water processes at the local scale, for example by diverting rivers or modifying land use. During the Anthropocene (the present period when humans exert a dominant influence on climate and environment), droughts are closely linked to human activities, cultures, and responses. From this scientific overview, it may be concluded apocalyptic scenario is not only a literature genre inspired from the pure imagination. Instead, many scientific arguments are in favour of this dramatic destiny of Homo Sapiens Sapiens. Fig.2. Sea level rise from 1880 to 2020: a possible apocalyptic scenario (www.globalchange.gov, 2021) Apocalyptic genre in recent writing As the original landmark of apocalyptic writing, we must place the destruction of the Temple of Jerusalem in 587 BC and the Exile in Babylon. Occasion of a religious and cultural crossing with imprescriptible effects, the Exile brought about a true rebirth, characterized by the maintenance of the essential ethical, even cultural, of a national religion, that of Moses, kept as pure as possible on a foreign land and by the reinterpretation of this fundamental heritage by the archaic return of what was very old, both national traditions and neighbouring cultures. More precisely, it was the place and time for the rehabilitation of cultures and the melting pot for recasting ancient myths. This vast infatuation with Antiquity, remarkable even in the vocabulary used, was not limited to Israel: it even largely reflected a general trend. The long period that preceded throughout the 7th century BC and until 587, like that prior to the edict of Cyrus in 538 BC, was that of restorations and rebirths, of returns to distant sources and cultural crossings. In the biblical literature of this period, one is struck by the almost systematic link between, on the one hand, a very sustained mythical reinvestment even in form and, on the other, the frequent use of biblical archaisms. The example of Shadday, a word firmly rooted in the Semites of the Northwest and epithet of El in the oldest layers of the books of Genesis and Exodus, is most eloquent. This term reappears precisely at the time of the Exile as a designation of the divinity of the Patriarchs and of the God of Israel; Daily, ecological catastrophes now describe the normal state of societies exposed to "risks", in the sense that Ulrich Beck gives to this term: "the risk society is a society of catastrophe. The state of emergency threatens to become a normal state there1”. Now, the "threat" has become clearer, and catastrophic "exceptions" are proliferating as quickly as species are disappearing and climate change is accelerating. The relationship that we have with this worrying reality, to say the least, is twofold: on the one hand, we know very well what is happening to us; on the other hand, we fail to draw the appropriate theoretical and political consequences. This ecological duplicity is at the heart of what has come to be called the “Anthropocene”, a term coined at the dawn of the 21st century by Eugene Stoermer (an environmentalist) and Paul Crutzen (a specialist in the chemistry of the atmosphere) in order to describe an age when humanity would have become a "major geological force" capable of disrupting the climate and changing the terrestrial landscape from top to bottom. If the term “Anthropocene” takes note of human responsibility for climate change, this responsibility is immediately attributed to overpowering: strong as we are, we have “involuntarily” changed the climate for at least two hundred and fifty years. Therefore, let us deliberately change the face of the Earth, if necessary, install a solar shield in space. Recognition and denial fuel the signifying machine of the Anthropocene. And it is precisely what structures eco-apocalyptic cinema that this article aims to study. By "eco-apocalyptic cinema", we first mean a cinematographic sub-genre: eco-apocalyptic and post-eco-apocalyptic films base the possibility (or reality) of the end of the world on environmental grounds and not, for example, on damage caused by the possible collision of planet Earth with a comet. Post-apocalyptic science fiction (sometimes abbreviated as "post-apo" or "post-nuke") is a sub-genre of science fiction that depicts life after a disaster that destroyed civilization: nuclear war, collision with a meteorite, epidemic, economic or energy crisis, pandemic, alien invasion. Conclusion Climate and politics have been linked together since Aristotle. With Montesquieu, Ibn Khaldûn or Watsuji, a certain climatic determinism is attributed to the character of a nation. The break with modernity made the climate an object of scientific knowledge which, in the twentieth century, made it possible to document, despite the controversies, the climatic changes linked to industrialization. Both endanger the survival of human beings and ecosystems. Climate ethics are therefore looking for a new relationship with the biosphere or Gaia. For some, with the absence of political agreements, it is the beginning of inevitable catastrophes. For others, the Anthropocene, which henceforth merges human history with natural history, opens onto technical action. The debate between climate determinism and human freedom is revived. The reference to the biblical Apocalypse was present in the thinking of thinkers like Günther Anders, Karl Jaspers or Hans Jonas: the era of the atomic bomb would mark an entry into the time of the end, a time marked by the unprecedented human possibility of 'total war and annihilation of mankind. The Apocalypse will be very relevant in describing the chaos to come if our societies continue their mad race described as extra-activist, productivist and consumerist. In dialogue with different theologians and philosophers (such as Jacques Ellul), it is possible to unveil some spiritual, ethical, and political resources that the Apocalypse offers for thinking about History and human engagement in the Anthropocene. What can a theology of collapse mean at a time when negative signs and dead ends in the human situation multiply? What then is the place of man and of the cosmos in the Apocalypse according to Saint John? Could the end of history be a collapse? How can we live in the time we have left before the disaster? Answers to such questions remain unknown and no scientist can predict the trajectory of this Great Acceleration taking place at the Late Anthropocene. When science cannot give answers, Man tries to infer his destiny for the legend, religion and the fiction. Climate Fiction is developed into a recording machine containing every kind of fictions that depict environmental condition events and has consequently lost its true significance. Aware of the prospect of ecological collapse additionally as our apparent inability to avert it, we tend to face geology changes of forceful proportions that severely challenge our ability to imagine the implications. Climate fiction ought to be considered an important supplement to climate science, as a result, climate fiction makes visible and conceivable future modes of existence inside worlds not solely deemed seemingly by science, however that area unit scientifically anticipated. Hence, this chapter, as part of the book itself, aims to contribute to studies of ecocriticism, the environmental humanities, and literary and culture studies. References David P.G. Bondand Stephen E. Grasby. "Late Ordovician mass extinction caused by volcanism, warming, and anoxia, not cooling and glaciation: REPLY." Geology 48, no. 8 (Geological Society of America2020): 510. Cyril Langlois.’Vestiges de l'apocalypse: ‘le site de Tanis, Dakota du Nord 2019’. Accessed June, 6, 2021, https://planet-terre.ens-lyon.fr/pdf/Tanis-extinction-K-Pg.pdf NajouaGharsalli,ElhoucineEssefi, Rana Baydoun, and ChokriYaich. ‘The Anthropocene and Great Acceleration as controversial epoch of human-induced activities: case study of the Halk El Menjel wetland, eastern Tunisia’. Applied Ecology and Environmental Research 18(3) (Corvinus University of Budapest 2020): 4137-4166 Elhoucine Essefi, ‘On the Geochemistry and Mineralogy of the Anthropocene’. International Journal of Water and Wastewater Treatment, 6(2). 1-14, (Sci Forschen2020): doi.org/10.16966/2381-5299.168 Elhoucine Essefi. ‘Record of the Anthropocene-Great Acceleration along a core from the coast of Sfax, southeastern Tunisia’. Turkish journal of earth science, (TÜBİTAK,2021). 1-16. Chiara Xausa. ‘Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book’. Exchanges: The Interdisciplinary Research Journal 8(2), (WARWICK 2021): 99-119. Akyol, Özlem. "Climate Change: An Apocalypse for Urban Space? An Ecocritical Reading of “Venice Drowned” and “The Tamarisk Hunter”." Folklor/Edebiyat 26, no. 101 (UluslararasıKıbrısÜniversitesi 2020): 115-126. Boswell, Suzanne F. "The Four Tourists of the Apocalypse: Figures of the Anthropocene in Caribbean Climate Fiction.". Paradoxa 31, (Academia 2020): 359-378. Ayt Ougougdal, Houssam, Mohamed YacoubiKhebiza, Mohammed Messouli, and Asia Lachir. 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Clements Markham Inlet cuts into the Grant Land Mountains of the northernmost coast of Ellesmere Island. The head of the inlet is bounded on three sides by mountain ice caps that surround lowlands mantled by extensive raised marine deposits. Fieldwork and mapping of late Quaternary sediments were used to determine the limits of past glaciations and the nature of ice retreat from the inlet head. Forty-five radiocarbon dates on driftwood and marine shells provide a deglacial chronology and document related sea-level adjustments.High-level ice-marginal meltwater channels and mountain summit erratics indicate that ice once inundated all of Clements Markham Inlet. During at least one of these undated glaciations, ice flowed unconstrained by the local topography. In contrast, the most recent glaciation involved confluent trunk glaciers, which terminated near the head of the inlet. Beyond this terminus, smaller glaciers entering the sides of the inlet debouched into a glacioisostatically depressed sea (full glacial sea). Retreat from the last glaciation is documented by moraines, kame terraces, and ice-contact deltas.Inside the ice limit at the head of the inlet, sections commonly show that a marine transgression occurred immediately after the retreat of the ice. Conversely, sections outside the last ice limit, along the sides of the inlet, show complex intercalations of marine and glacigenic sediments. These indicate proximal ice-front conditions where small valley glaciers locally contacted the sea.The oldest date on the last ice limit is 9845 BP. After this, slow retreat was in progress, and some glaciers were within 6 km of their current positions by ca. 9700 BP. At the head of the inlet, the mouths of the confluent valleys became ice free by 8000 BP. After 8000 BP, glacial retreat accelerated greatly, so that the entire lowland became ice free within 400 years.Relative sea-level curves from the inlet indicate ice-load changes that confirm this pattern of ice retreat. Outside the last ice limit, the full glacial sea reached 124 m asl by at least 10 000 BP. Emergence from this sea occurred slowly between at least 10 000 and 8000 BP (0.72 m 100 year−1). This period was followed by "normal" rapid postglacial emergence, which decelerated to the present.The marine limit of the full glacial sea rises from 92 m asl, at the outer coast, to 124 m asl near the last ice limit at the head of the inlet. Initial emergence from the full glacial sea occurred simultaneously throughout the inlet. On the proximal side of the last ice limit, the marine limit descends in the up-ice direction and becomes progressively younger. Individual strandlines tilt up in a southwesterly direction towards the central Grant Land Mountains, suggesting a former centre of glacio-isostatic loading in that area.

AbstractTime-dependent ice-sheet modelling of a 176 000 km2 area in western Dronning Maud Land, East Antarctica, provided information on the ice sheet’s response to six climate-change scenarios. Another experiment was done to study changes in ice thickness, flow and basal temperature conditions between the present ice configuration and a simulated maximum palaeo-ice sheet. The input to the model included new datasets of bed and surface topography compiled for this study. The results of the six climate-change experiments, including a 0.5°C per century global-warming scenario, show that the ice sheet has a robust behaviour with respect to the different climate changes. The maximum change in ice volume was <5% of the initial volume in all climate runs. This is for only relatively short-term climate changes without major changes in global sea level, and also a simulated ice sheet without an ice shelf. The modelled long-term response time of the ice sheet, 20 kyr or more, indicates that the ice sheet may still be adjusting to the climate change that ended the Last Glacial Maximum. In the maximum palaeo-ice-sheet simulation, with a 5°C climate cooling and the grounding line located at the continental-shelf margin, ice thickness increased drastically downstream from the Heimefrontfjella mountain range but remained basically unaffected on the upstream polar plateau. Compared to present conditions, complex changes in basal temperatures were observed. The extent of areas with basal melting increased, for example in the deep trough of the Veststraumen ice stream. Areas at intermediate elevations in the landscape also experienced increased basal temperatures, with significant areas reaching the melting point. In contrast, high-altitude areas that today are clearly cold-based, such as around Heimefrontfjella and Vestfjella and the Högisen dome, experienced a 5–10°C decrease in basal temperatures in the palaeo-ice-sheet reconstruction. The results suggest that the alpine landscape within these mountain regions was formed by wet-based local glaciers and ice sheets prior to the late Cenozoic.

Abstract The East African climate paradox—a term framing the observed precipitation decline in the March–May (MAM) wet season of East Africa from roughly 1980–2010, yet an increase in future climates simulated by global climate models (GCMs)—mostly relies on data representing sea level. Here we add a mid-troposphere perspective by combining in-situ meteorological measurements at ∼6000 m a.s.l. from Africa’s highest mountain summit and a carefully selected subset of GCMs through a machine-learning link. Temporal trends of the resultant six weather types do support a drier mountain climate in the recent past and a moister one in the course of the 21st century, and a key to understanding these contrasting trends materializes from the new dominance of changes in weather type frequency in the future climate. Importantly, however, the results also suggest that the trend reversal requires a strong external climate forcing. Hence, the forcing strength should be considered more systematically in forthcoming studies, to challenge the question whether equatorial East Africa’s MAM climate will indeed become wetter in all plausible future scenarios.

Following international recommendations (UNESCO / IASH 1969), the decision was made to determine the surface profile of a number of glaciers in Palmer Land and Alexander Island. By comparison with the ice sheet elsewhere on the continent, the chosen glaciers were small and hence more sensitive to the effect of climate over the last few decades. Six profiles were established between 1972 and 1976 and they were re-levelled in the 1985-86 summer. The profiles are between 0.5 and 4.5 km long and are terminated, at one end at least, by a bench mark established on rock. The profiles were re-measured close to the calendar date of the original survey so that recent trends would not be masked by the annual cycle of accumulation, densification and ablation. Five of the six profiles show that the ice sheet has thickened in the last 10-15 years, albeit at a slow rate. Changes in four profiles on Alexander Island within 300 m of sea-level range from a thickening of 66 mm a−1 to a thinning of 83 mm a−1; on average the sites show a thickening of just 6 mm a year. This is similar to the thickening rate of 5 mm a−1 which was found for a cold site on the spine of the Antarctic Peninsula at 1600 m above sea-level. The greatest change was found at an intermediate elevation (500 m). In a snow-field between two parallel mountain groups in the Batterbee Mountains of Palmer Land, thickening averaged 165 mm a−1. To put these values into perspective, in the absence of glacier flow and summer melting, the glaciers would thicken by up to about 500 mm each year as a result of the accumulation of snow.Except in the Batterbee Mountains, we find that glacier flow is in close balance with present climate, despite the general warming trend that has occurred in the Antarctic Peninsula region over the past 30 years.

Following international recommendations (UNESCO / IASH 1969), the decision was made to determine the surface profile of a number of glaciers in Palmer Land and Alexander Island. By comparison with the ice sheet elsewhere on the continent, the chosen glaciers were small and hence more sensitive to the effect of climate over the last few decades. Six profiles were established between 1972 and 1976 and they were re-levelled in the 1985-86 summer. The profiles are between 0.5 and 4.5 km long and are terminated, at one end at least, by a bench mark established on rock. The profiles were re-measured close to the calendar date of the original survey so that recent trends would not be masked by the annual cycle of accumulation, densification and ablation. Five of the six profiles show that the ice sheet has thickened in the last 10-15 years, albeit at a slow rate. Changes in four profiles on Alexander Island within 300 m of sea-level range from a thickening of 66 mm a−1 to a thinning of 83 mm a−1; on average the sites show a thickening of just 6 mm a year. This is similar to the thickening rate of 5 mm a−1 which was found for a cold site on the spine of the Antarctic Peninsula at 1600 m above sea-level. The greatest change was found at an intermediate elevation (500 m). In a snow-field between two parallel mountain groups in the Batterbee Mountains of Palmer Land, thickening averaged 165 mm a−1. To put these values into perspective, in the absence of glacier flow and summer melting, the glaciers would thicken by up to about 500 mm each year as a result of the accumulation of snow. Except in the Batterbee Mountains, we find that glacier flow is in close balance with present climate, despite the general warming trend that has occurred in the Antarctic Peninsula region over the past 30 years.

Abstract. Glacier inventories provide essential baseline information for the determination of water resources, glacier-specific changes in area and volume, climate change impacts as well as past, potential and future contribution of glaciers to sea-level rise. Although Greenland is heavily glacierised and thus highly relevant for all of the above points, a complete inventory of its glaciers was not available so far. Here we present the results and details of a new and complete inventory that has been compiled from more than 70 Landsat scenes (mostly acquired between 1999 and 2002) using semi-automated glacier mapping techniques. A digital elevation model (DEM) was used to derive drainage divides from watershed analysis and topographic attributes for each glacier entity. To serve the needs of different user communities, we assigned to each glacier one of three connectivity levels with the ice sheet (CL0, CL1, CL2; i.e. no, weak, and strong connection) to clearly, but still flexibly, distinguish the local glaciers and ice caps (GIC) from the ice sheet and its outlet glaciers. In total, we mapped ~ 20 300 glaciers larger than 0.05 km2 (of which ~ 900 are marine terminating), covering an area of 130 076 ± 4032 km2, or 89 720 ± 2781 km2 without the CL2 GIC. The latter value is about 50% higher than the mean value of more recent previous estimates. Glaciers smaller than 0.5 km2 contribute only 1.5% to the total area but more than 50% (11 000) to the total number. In contrast, the 25 largest GIC (> 500 km2) contribute 28% to the total area, but only 0.1% to the total number. The mean elevation of the GIC is 1700 m in the eastern sector and around 1000 m otherwise. The median elevation increases with distance from the coast, but has only a weak dependence on mean glacier aspect.

The freezing level in the free troposphere often intercepts the terrain of the world’s major mountain ranges, creating a rain–snow limit. In this work, we use the free tropospheric height of the 0 °C isotherm (H0) as a proxy of both levels and study its distribution along the western slope of the subtropical Andes (30°–38° S) in present climate and during the rest of the 21st century. This portion of the Andes corresponds to central Chile, a highly populated region where warm winter storms have produced devastating landslides and widespread flooding in the recent past. Our analysis is based on the frequency distribution of H0 derived from radiosonde and surface observations, atmospheric reanalysis and climate simulations. The future projections primarily employ a scenario of heavy greenhouse gasses emissions (RCP8.5), but we also examine the more benign RCP4.5 scenario. The current H0 distribution along the central Chile coast shows a gradual decrease southward, with mean heights close to 2600 m ASL (above sea level) at 30 °C S to 2000 m ASL at 38° S for days with precipitation, about 800 m lower than during dry days. The mean value under wet conditions toward the end of the century (under RCP8.5) is close to, or higher than, the upper quartile of the H0 distribution in the current climate. More worrisome, H0 values that currently occur only 5% of the time will be exceeded in about a quarter of the rainy days by the end of the century. Under RCP8.5, even moderate daily precipitation can increase river flow to levels that are considered hazardous for central Chile.

Abstract. The discovery of Antarctica's deepest subglacial trough beneath the Denman Glacier, combined with high rates of basal melt at the grounding line, has caused significant concern over its vulnerability to retreat. Recent attention has therefore been focusing on understanding the controls driving Denman Glacier's dynamic evolution. Here we consider the Shackleton system, comprised of the Shackleton Ice Shelf, Denman Glacier, and the adjacent Scott, Northcliff, Roscoe and Apfel glaciers, about which almost nothing is known. We widen the context of previously observed dynamic changes in the Denman Glacier to the wider region of the Shackleton system, with a multi-decadal time frame and an improved biannual temporal frequency of observations in the last 7 years (2015–2022). We integrate new satellite observations of ice structure and airborne radar data with changes in ice front position and ice flow velocities to investigate changes in the system. Over the 60-year period of observation we find significant rift propagation on the Shackleton Ice Shelf and Scott Glacier and notable structural changes in the floating shear margins between the ice shelf and the outlet glaciers, as well as features indicative of ice with elevated salt concentration and brine infiltration in regions of the system. Over the period 2017–2022 we observe a significant increase in ice flow speed (up to 50 %) on the floating part of Scott Glacier, coincident with small-scale calving and rift propagation close to the ice front. We do not observe any seasonal variation or significant change in ice flow speed across the rest of the Shackleton system. Given the potential vulnerability of the system to accelerating retreat into the overdeepened, potentially sediment-filled bedrock trough, an improved understanding of the glaciological, oceanographic and geological conditions in the Shackleton system are required to improve the certainty of numerical model predictions, and we identify a number of priorities for future research. With access to these remote coastal regions a major challenge, coordinated internationally collaborative efforts are required to quantify how much the Shackleton region is likely to contribute to sea level rise in the coming centuries.

Abstract. Based on the Baltic Earth Assessment Reports of this thematic issue in Earth System Dynamics and recent peer-reviewed literature, current knowledge of the effects of global warming on past and future changes in climate of the Baltic Sea region is summarised and assessed. The study is an update of the Second Assessment of Climate Change (BACC II) published in 2015 and focuses on the atmosphere, land, cryosphere, ocean, sediments, and the terrestrial and marine biosphere. Based on the summaries of the recent knowledge gained in palaeo-, historical, and future regional climate research, we find that the main conclusions from earlier assessments still remain valid. However, new long-term, homogenous observational records, for example, for Scandinavian glacier inventories, sea-level-driven saltwater inflows, so-called Major Baltic Inflows, and phytoplankton species distribution, and new scenario simulations with improved models, for example, for glaciers, lake ice, and marine food web, have become available. In many cases, uncertainties can now be better estimated than before because more models were included in the ensembles, especially for the Baltic Sea. With the help of coupled models, feedbacks between several components of the Earth system have been studied, and multiple driver studies were performed, e.g. projections of the food web that include fisheries, eutrophication, and climate change. New datasets and projections have led to a revised understanding of changes in some variables such as salinity. Furthermore, it has become evident that natural variability, in particular for the ocean on multidecadal timescales, is greater than previously estimated, challenging our ability to detect observed and projected changes in climate. In this context, the first palaeoclimate simulations regionalised for the Baltic Sea region are instructive. Hence, estimated uncertainties for the projections of many variables increased. In addition to the well-known influence of the North Atlantic Oscillation, it was found that also other low-frequency modes of internal variability, such as the Atlantic Multidecadal Variability, have profound effects on the climate of the Baltic Sea region. Challenges were also identified, such as the systematic discrepancy between future cloudiness trends in global and regional models and the difficulty of confidently attributing large observed changes in marine ecosystems to climate change. Finally, we compare our results with other coastal sea assessments, such as the North Sea Region Climate Change Assessment (NOSCCA), and find that the effects of climate change on the Baltic Sea differ from those on the North Sea, since Baltic Sea oceanography and ecosystems are very different from other coastal seas such as the North Sea. While the North Sea dynamics are dominated by tides, the Baltic Sea is characterised by brackish water, a perennial vertical stratification in the southern subbasins, and a seasonal sea ice cover in the northern subbasins.

Abstract. Pine Island Glacier in West Antarctica is among the fastest changing glaciers worldwide. Over the last 2 decades, the glacier has lost in excess of a trillion tons of ice, or the equivalent of 3 mm of sea level rise. The ongoing changes are thought to have been triggered by ocean-induced thinning of its floating ice shelf, grounding line retreat, and the associated reduction in buttressing forces. However, other drivers of change, such as large-scale calving and changes in ice rheology and basal slipperiness, could play a vital, yet unquantified, role in controlling the ongoing and future evolution of the glacier. In addition, recent studies have shown that mechanical properties of the bed are key to explaining the observed speed-up. Here we used a combination of the latest remote sensing datasets between 1996 and 2016, data assimilation tools, and numerical perturbation experiments to quantify the relative importance of all processes in driving the recent changes in Pine Island Glacier dynamics. We show that (1) calving and ice shelf thinning have caused a comparable reduction in ice shelf buttressing over the past 2 decades; that (2) simulated changes in ice flow over a viscously deforming bed are only compatible with observations if large and widespread changes in ice viscosity and/or basal slipperiness are taken into account; and that (3) a spatially varying, predominantly plastic bed rheology can closely reproduce observed changes in flow without marked variations in ice-internal and basal properties. Our results demonstrate that, in addition to its evolving ice thickness, calving processes and a heterogeneous bed rheology play a key role in the contemporary evolution of Pine Island Glacier.

Abstract. Observations over the past two decades show substantial ice loss associated with the speedup of marine terminating glaciers in Greenland. Here we use a regional 3-D outlet glacier model to simulate the behaviour of Jakobshavn Isbræ (JI) located in west Greenland. Using atmospheric and oceanic forcing we tune our model to reproduce the observed frontal changes of JI during 1990–2014. We identify two major accelerations. The first occurs in 1998, and is triggered by moderate thinning prior to 1998. The second acceleration, which starts in 2003 and peaks in summer 2004, is triggered by the final breakup of the floating tongue, which generates a reduction in buttressing at the JI terminus. This results in further thinning, and as the slope steepens inland, sustained high velocities have been observed at JI over the last decade. As opposed to other regions on the Greenland Ice Sheet (GrIS), where dynamically induced mass loss has slowed down over recent years, both modelled and observed results for JI suggest a continuation of the acceleration in mass loss. Further, we find that our model is not able to capture the 2012 peak in the observed velocities. Our analysis suggests that the 2012 acceleration of JI is likely the result of an exceptionally long melt season dominated by extreme melt events. Considering that such extreme surface melt events are expected to intensify in the future, our findings suggest that the 21st century projections of the GrIS mass loss and the future sea level rise may be larger than predicted by existing modelling results.

Abstract. The catastrophic collapses of Larsen A and B ice shelves on the eastern Antarctic Peninsula have caused their tributary glaciers to accelerate, contributing to sea-level rise and freshening the Antarctic Bottom Water formed nearby. The surface of Larsen C Ice Shelf (LCIS), the largest ice shelf on the peninsula, is lowering. This could be caused by unbalanced ocean melting (ice loss) or enhanced firn melting and compaction (englacial air loss). Using a novel method to analyse eight radar surveys, this study derives separate estimates of ice and air thickness changes during a 15-year period. The uncertainties are considerable, but the primary estimate is that the surveyed lowering (0.066 ± 0.017 m yr−1) is caused by both ice loss (0.28 ± 0.18 m yr−1) and firn-air loss (0.037 ± 0.026 m yr−1). The ice loss is much larger than the air loss, but both contribute approximately equally to the lowering because the ice is floating. The ice loss could be explained by high basal melting and/or ice divergence, and the air loss by low surface accumulation or high surface melting and/or compaction. The primary estimate therefore requires that at least two forcings caused the surveyed lowering. Mechanisms are discussed by which LCIS stability could be compromised in the future. The most rapid pathways to collapse are offered by the ungrounding of LCIS from Bawden Ice Rise or ice-front retreat past a "compressive arch" in strain rates. Recent evidence suggests that either mechanism could pose an imminent risk.

Climate change and particularly variations in air temperature have significant impacts on the growth rhythm of plants where these occur at the limits of their natural distribution range, especially at northern latitudes. Our study area, Fennoscandia and Kola Peninsula, is characterized by large regional climatic differences from south to north, from west to east, and from lowland to mountains. Accordingly, the region is well suited for looking for evidence of climatic change and studying regional differences in the response of such change. The International Panel on Climate Change (IPCC) reports that the projected warming in northern Europe is greater than for many other regions of the world. Therefore major physical and ecological changes are expected. On land, there will be a tendency for shifts in major biomes such as tundra and boreal forest. Permafrost will decline, trees and shrubs will encroach northern tundra, and broad-leaved trees may encroach coniferous forests. Net primary productivity in ecosystems is likely to increase. The temperature level at the end of the 20th century is ca. 0.5 oC higher than in the 1930 for the Northern hemisphere (IPCC and World Meteorological Organization). Other studies show that in the period 1890-1999, the increase in temperature over Fennoscandia varies between 0.02 (Karasjok) and 0.1 oC decade-1 (Helsinki), and they also showed that at several stations within the area the spring temperatures have increased steadily throughout the 20th century. Most stations experienced low spring temperatures in the beginning of the century, and rather high temperatures around 1950. At present, the winter temperature levels are considerably higher than in the rest of the period. However, at northern stations the winter temperatures were higher in the 1930s than at present. Phenological registrations have been used word-wide to look for possible effects of climate change, but within Fennoscandia the problem is that phenological registrations are sparse. On Kola Peninsula, however, such observations can be tracked back more than 70 years. The few existing historical series may be useful for local studies of climatic and environmental effects through time. However, the rugged topography within the area, with its large variations in micro and local climate and thus growing conditions, makes it difficult to draw conclusions for regions or larger areas. Accordingly, in order to document the effects of the current climatic trend there is a need for objective methods applicable on a regional level. Hence, satellite data is probably the only realistic way of documenting regional trends in phenological events within Fennoscandia and Kola Peninsula. However, there are very few time-series of data available that span a sufficient time-period to be useful for trend analysis. The only long-time series with sufficient spatial coverage and temporal resolution is the NOAA AVHRR GIMMS NDVI dataset produced by Dr. Tucker at NASA, at present covering the period from July 1981 to December 2002. This dataset has been used for several global studies, but for our purpose the main challenge is the low spatial resolution of 8x8 km2. For a typical Norwegian coastal area, within one pixel there will be all types of land-cover types from ocean to rich vegetated lowland to non-vegetated high mountains and glaciers. The advantage with this dataset is that it is based on satellite data acquired several times a day, and therefore it is very good to use in order to follow "the green wave" of vegetation during springtime. Accordingly, it is of importance to investigate whether this dataset can be applied to document the regional phenological differences within the region, and whether phonological trends that may be related to climate change is observed. The NOAA AVHRR GIMMS NDVI data set obtained from weather satellites was together with in-situ data and climate data used to investigate regional climatic change impact on the length of the growing season in Fennoscandia and Kola Peninsula during the last two decades. We used phenological observation data for birch (Betula pubescens), and birch give a significant contribution to the reflectance from the ground in order to analyze the satellite data. A method using an individual threshold NDVI value for defining the onset of the growing season applied to each pixel for each year was chosen, and a high correlation was found between the NDVI data and in-situ phenological data on onset of leafing of birch. Determining the end of growing season based on a threshold NDVI value shows a lower correlation with surface data, but the timing by the set threshold is observed to measure somewhere in-between the onset of yellowing and all leaves fallen. In general, the results show a pattern according to vegetation zones and the altitude gradient, and partly according to vegetation sections. There are high regional differences in trends in the onset of spring. In the southern part of Fennoscandia, and on the oceanic west coast of Norway, the spring starts considerably earlier in the late nineties compared to the early eighties. The spring is stable or delayed in the northern boreal zone, which occupies large areas of northern Fennoscandia and Kola peninsula, and the same trend is also found in the alpine areas which occupies parts of both southern and northern Norway. The strongest delay occurred in the most continental section of the northern boreal zone. In the entire boreo-nemoral and nemoral zone, which occupy most of the southern part of Fennoscandia, the trend is opposite. In these areas the spring starts considerably earlier, in some parts several weeks. In the most oceanic section, the coastline of Western Norway, the spring also starts earlier. This earlier trend fits with the pattern from western and central Europe, and is likely to be related to increased spring temperature. At the same time the autumn is delayed in the whole area except in the most continental section of northern Fennoscandia (Sweden and Finland) as well as the mountainous areas of northern and southern Norway. This also means that the growing season is prolonged for the whole area, except the northern continental section (northern part of Sweden and Finland and parts of Kola peninsula). In contrast, the timing of midsummer shows less change in all the study area. There is no specific or significant trend for the timing of the peak NDVI value. These changes in the onset of spring and autumn as well as the change in the length of the growing season may if they seem to be prolonged in the future lead to another use of the reindeer pastures as well as changes in timing of migration and in migration patterns. For example the migration to the summer pastures can start earlier now than 20 years earlier for most of the reindeer husbandry districts in Fennoscandia. In addition the migration back to winter pastures can start later, and this will reduce the length and the use of the autumn, winter and spring pastures, and these changes may be positive. If these trends will be prolonged, we have to recalculate the estimations of the carrying capacity for the different reindeer pastures in Fennoscandia. We have used the NOAA AVHRR GIMMS NDVI dataset to assess the change in maximum NDVI on regional level. It is observed that the trend is towards a higher peak NDVI-value in midsummer in the most of northern Fennoscandia. For larger parts of Fennoscandia the trends are positive and causes for this could be increased extent of the mountain birch forests and changes in the vegetation cover from lichen dominated cover to more heather vegetation and scrubs but these changes may be negative for the reindeer pasture. Also overgrowing of the cultural landscape as well as general increase of the boreal forests may reduce the carrying capacity for the reindeer. It is also observed in the EU-funded HIBECO-project and the NFR (Norwegian Research Council) funded PhenoClim-project that more "humid preferring" plant species, for instance the Lapland dwarf cornel (Cornus suecica) and mosses have increased in recent years, while typical heath species as crowberry (Empetrum hermaphroditum), bilberry (Vaccinium myrtillus) and reindeer lichens have decreased. The quality of the reindeer pastures is then reduced, and these changes are considered negative for the reindeer husbandry. This may have been caused by a combination of grazing, increased precipitation and higher temperatures during the growing season.

About half way through Yann Arthus-Bertrand’s film Home (2009) the narrator describes the fall of the Rapa Nui, the indigenous people of the Easter Islands. The narrator posits that the Rapa Nui culture collapsed due to extensive environmental degradation brought about by large-scale deforestation. The Rapa Nui cut down their massive native forests to clear spaces for agriculture, to heat their dwellings, to build canoes and, most importantly, to move their enormous rock sculptures—the Moai. The disappearance of their forests led to island-wide soil erosion and the gradual disappearance of arable land. Caught in the vice of overpopulation but with rapidly dwindling basic resources and no trees to build canoes, they were trapped on the island and watched helplessly as their society fell into disarray. The sequence ends with the narrator’s biting remark: “The real mystery of the Easter Islands is not how its strange statues got there, we know now; it's why the Rapa Nui didn't react in time.” In their unrelenting desire for development, the Rapa Nui appear to have overlooked the role the environment plays in maintaining a society. The island’s Moai accompanying the sequence appear as memento mori, a lesson in the mortality of human cultures brought about by their own misguided and short-sighted practices. Arthus-Bertrand’s Home, a film composed almost entirely of aerial photographs, bears witness to present-day environmental degradation and climate change, constructing society as a fragile structure built upon and sustained by the environment. Home is a call to recognise how contemporary practices of post-industrial societies have come to shape the environment and how they may impact the habitability of Earth in the near future. Through reflexivity and a ritualised structure the text invites spectators to look at themselves in a new light and remake their self-image in the wake of global environmental risk by embracing new, alternative core practices based on balance and interconnectedness. Arthus-Bertrand frames climate change not as a burden, but as a moment of profound realisation of the potential for change and humans ability to create a desirable future through hope and our innate capacity for renewal. This article examines how Arthus-Bertrand’s ritualised construction of climate change aims to remake viewers’ perception of present-day environmental degradation and investigates Home’s place in contemporary climate change communication discourse. Climate change, in its capacity to affect us globally, is considered a world risk. The most recent peer-reviewed Synthesis Report of the Intergovernmental Panel on Climate Change suggests that the concentration of atmospheric greenhouse gases has increased markedly since human industrialisation in the 18th century. Moreover, human activities, such as fossil fuel burning and agricultural practices, are “very likely” responsible for the resulting increase in temperature rise (IPPC 37). The increased global temperatures and the subsequent changing weather patterns have a direct and profound impact on the physical and biological systems of our planet, including shrinking glaciers, melting permafrost, coastal erosion, and changes in species distribution and reproduction patterns (Rosenzweig et al. 353). Studies of global security assert that these physiological changes are expected to increase the likelihood of humanitarian disasters, food and water supply shortages, and competition for resources thus resulting in a destabilisation of global safety (Boston et al. 1–2). Human behaviour and dominant practices of modernity are now on a path to materially impact the future habitability of our home, Earth. In contemporary post-industrial societies, however, climate change remains an elusive, intangible threat. Here, the Arctic-bound species forced to adapt to milder climates or the inhabitants of low-lying Pacific islands seeking refuge in mainland cities are removed from the everyday experience of the controlled and regulated environments of homes, offices, and shopping malls. Diverse research into the mediated and mediatised nature of the environment suggests that rather than from first-hand experiences and observations, the majority of our knowledge concerning the environment now comes from its representation in the mass media (Hamilton 4; Stamm et al. 220; Cox 2). Consequently the threat of climate change is communicated and constructed through the news media, entertainment and lifestyle programming, and various documentaries and fiction films. It is therefore the construction (the representation of the risk in various discourses) that shapes people’s perception and experience of the phenomenon, and ultimately influences behaviour and instigates social response (Beck 213). By drawing on and negotiating society’s dominant discourses, environmental mediation defines spectators’ perceptions of the human-nature relationship and subsequently their roles and responsibilities in the face of environmental risks. Maxwell Boykoff asserts that contemporary modern society’s mediatised representations of environmental degradation and climate change depict the phenomena as external to society’s primary social and economic concerns (449). Julia Corbett argues that this is partly because environmental protection and sustainable behaviour are often at odds with the dominant social paradigms of consumerism, economic growth, and materialism (175). Similarly, Rowan Howard-Williams suggests that most media texts, especially news, do not emphasise the link between social practices, such as consumerist behaviour, and their environmental consequences because they contradict dominant social paradigms (41). The demands contemporary post-industrial societies make on the environment to sustain economic growth, consumer culture, and citizens’ comfortable lives in air-conditioned homes and offices are often left unarticulated. While the media coverage of environmental risks may indeed have contributed to “critical misperceptions, misleading debates, and divergent understandings” (Boykoff 450) climate change possesses innate characteristics that amplify its perception in present-day post-industrial societies as a distant and impersonal threat. Climate change is characterised by temporal and spatial de-localisation. The gradual increase in global temperature and its physical and biological consequences are much less prominent than seasonal changes and hence difficult to observe on human time-scales. Moreover, while research points to the increased probability of extreme climatic events such as droughts, wild fires, and changes in weather patterns (IPCC 48), they take place over a wide range of geographical locations and no single event can be ultimately said to be the result of climate change (Maibach and Roser-Renouf 145). In addition to these observational obstacles, political partisanship, vested interests in the current status quo, and general resistance to profound change all play a part in keeping us one step removed from the phenomenon of climate change. The distant and impersonal nature of climate change coupled with the “uncertainty over consequences, diverse and multiple engaged interests, conflicting knowledge claims, and high stakes” (Lorenzoni et al. 65) often result in repression, rejection, and denial, removing the individual’s responsibility to act. Research suggests that, due to its unique observational obstacles in contemporary post-industrial societies, climate change is considered a psychologically distant event (Pawlik 559), one that is not personally salient due to the “perceived distance and remoteness [...] from one’s everyday experience” (O’Neill and Nicholson-Cole 370). In an examination of the barriers to behaviour change in the face of psychologically distant events, Robert Gifford argues that changing individuals’ perceptions of the issue-domain is one of the challenges of countering environmental inertia—the lack of initiative for environmentally sustainable social action (5). To challenge the status quo a radically different construction of the environment and the human-nature relationship is required to transform our perception of global environmental risks and ultimately result in environmentally consequential social action. Yann Arthus-Bertrand’s Home is a ritualised construction of contemporary environmental degradation and climate change which takes spectators on a rite of passage to a newfound understanding of the human-nature relationship. Transformation through re-imagining individuals’ roles, responsibilities, and practices is an intrinsic quality of rituals. A ritual charts a subjects path from one state of consciousness to the next, resulting in a meaningful change of attitudes (Deflem 8). Through a lifelong study of African rituals British cultural ethnographer Victor Turner refined his concept of rituals in a modern social context. Turner observed that rituals conform to a three-phased processural form (The Ritual Process 13–14). First, in the separation stage, the subjects are selected and removed from their fixed position in the social structure. Second, they enter an in-between and ambiguous liminal stage, characterised by a “partial or complete separation of the subject from everyday existence” (Deflem 8). Finally, imbued with a new perspective of the outside world borne out of the experience of reflexivity, liminality, and a cathartic cleansing, subjects are reintegrated into the social reality in a new, stable state. The three distinct stages make the ritual an emotionally charged, highly personal experience that “demarcates the passage from one phase to another in the individual’s life-cycle” (Turner, “Symbols” 488) and actively shapes human attitudes and behaviour. Adhering to the three-staged processural form of the ritual, Arthus-Bertrand guides spectators towards a newfound understanding of their roles and responsibilities in creating a desirable future. In the first stage—the separation—aerial photography of Home alienates viewers from their anthropocentric perspectives of the outside world. This establishes Earth as a body, and unearths spectators’ guilt and shame in relation to contemporary world risks. Aerial photography strips landscapes of their conventional qualities of horizon, scale, and human reference. As fine art photographer Emmet Gowin observes, “when one really sees an awesome, vast place, our sense of wholeness is reorganised [...] and the body seems always to diminish” (qtd. in Reynolds 4). Confronted with a seemingly infinite sublime landscape from above, the spectator’s “body diminishes” as they witness Earth’s body gradually taking shape. Home’s rushing rivers of Indonesia are akin to blood flowing through the veins and the Siberian permafrost seems like the texture of skin in extreme close-up. Arthus-Bertrand establishes a geocentric embodiment to force spectators to perceive and experience the environmental degradation brought about by the dominant social practices of contemporary post-industrial modernity. The film-maker visualises the maltreatment of the environment through suggested abuse of the Earth’s body. Images of industrial agricultural practices in the United States appear to leave scratches and scars on the landscape, and as a ship crosses the Arctic ice sheets of the Northwest Passage the boat glides like the surgeon’s knife cutting through the uppermost layer of the skin. But the deep blue water that’s revealed in the wake of the craft suggests a flesh and body now devoid of life, a suffering Earth in the wake of global climatic change. Arthus-Bertrand’s images become the sublime evidence of human intervention in the environment and the reflection of present-day industrialisation materially altering the face of Earth. The film-maker exploits spectators’ geocentric perspective and sensibility to prompt reflexivity, provide revelations about the self, and unearth the forgotten shame and guilt in having inadvertently caused excessive environmental degradation. Following the sequences establishing Earth as the body of the text Arthus-Bertrand returns spectators to their everyday “natural” environment—the city. Having witnessed and endured the pain and suffering of Earth, spectators now gaze at the skyscrapers standing bold and tall in the cityscape with disillusionment. The pinnacles of modern urban development become symbols of arrogance and exploitation: structures forced upon the landscape. Moreover, the images of contemporary cityscapes in Home serve as triggers for ritual reflexivity, allowing the spectator to “perceive the self [...] as a distanced ‘other’ and hence achieve a partial ‘self-transcendence’” (Beck, Comments 491). Arthus-Bertrand’s aerial photographs of Los Angeles, New York, and Tokyo fold these distinct urban environments into one uniform fusion of glass, metal, and concrete devoid of life. The uniformity of these cultural landscapes prompts spectators to add the missing element: the human. Suddenly, the homes and offices of desolate cityscapes are populated by none other than us, looking at ourselves from a unique vantage point. The geocentric sensibility the film-maker invoked with the images of the suffering Earth now prompt a revelation about the self as spectators see their everyday urban environments in a new light. Their homes and offices become blemishes on the face of the Earth: its inhabitants, including the spectators themselves, complicit in the excessive mistreatment of the planet. The second stage of the ritual allows Arthus-Bertrand to challenge dominant social paradigms of present day post-industrial societies and introduce new, alternative moral directives to govern our habits and attitudes. Following the separation, ritual subjects enter an in-between, threshold stage, one unencumbered by the spatial, temporal, and social boundaries of everyday existence. Turner posits that a subjects passage through this liminal stage is necessary to attain psychic maturation and successful transition to a new, stable state at the end of the ritual (The Ritual Process 97). While this “betwixt and between” (Turner, The Ritual Process 95) state may be a fleeting moment of transition, it makes for a “lived experience [that] transforms human beings cognitively, emotionally, and morally.” (Horvath et al. 3) Through a change of perceptions liminality paves the way toward meaningful social action. Home places spectators in a state of liminality to contrast geocentric and anthropocentric views. Arthus-Bertrand contrasts natural and human-made environments in terms of diversity. The narrator’s description of the “miracle of life” is followed by images of trees seemingly defying gravity, snow-covered summits among mountain ranges, and a whale in the ocean. Grandeur and variety appear to be inherent qualities of biodiversity on Earth, qualities contrasted with images of the endless, uniform rectangular greenhouses of Almeria, Spain. This contrast emphasises the loss of variety in human achievements and the monotony mass-production brings to the landscape. With the image of a fire burning atop a factory chimney, Arthus-Bertrand critiques the change of pace and distortion of time inherent in anthropocentric views, and specifically in contemporary modernity. Here, the flames appear to instantly eat away at resources that have taken millions of years to form, bringing anthropocentric and geocentric temporality into sharp contrast. A sequence showing a night time metropolis underscores this distinction. The glittering cityscape is lit by hundreds of lights in skyscrapers in an effort, it appears, to mimic and surpass daylight and thus upturn the natural rhythm of life. As the narrator remarks, in our present-day environments, “days are now the pale reflections of nights.” Arthus-Bertrand also uses ritual liminality to mark the present as a transitory, threshold moment in human civilisation. The film-maker contrasts the spectre of our past with possible visions of the future to mark the moment of now as a time when humanity is on the threshold of two distinct states of mind. The narrator’s descriptions of contemporary post-industrial society’s reliance on non-renewable resources and lack of environmentally sustainable agricultural practices condemn the past and warn viewers of the consequences of continuing such practices into the future. Exploring the liminal present Arthus-Bertrand proposes distinctive futurescapes for humankind. On the one hand, the narrator’s description of California’s “concentration camp style cattle farming” suggests that humankind will live in a future that feeds from the past, falling back on frames of horrors and past mistakes. On the other hand, the example of Costa Rica, a nation that abolished its military and dedicated the budget to environmental conservation, is recognition of our ability to re-imagine our future in the face of global risk. Home introduces myths to imbue liminality with the alternative dominant social paradigm of ecology. By calling upon deep-seated structures myths “touch the heart of society’s emotional, spiritual and intellectual consciousness” (Killingsworth and Palmer 176) and help us understand and come to terms with complex social, economic, and scientific phenomena. With the capacity to “pattern thought, beliefs and practices,” (Maier 166) myths are ideal tools in communicating ritual liminality and challenging contemporary post-industrial society’s dominant social paradigms. The opening sequence of Home, where the crescent Earth is slowly revealed in the darkness of space, is an allusion to creation: the genesis myth. Accompanied only by a gentle hum our home emerges in brilliant blue, white, and green-brown encompassing most of the screen. It is as if darkness and chaos disintegrated and order, life, and the elements were created right before our eyes. Akin to the Earthrise image taken by the astronauts of Apollo 8, Home’s opening sequence underscores the notion that our home is a unique spot in the blackness of space and is defined and circumscribed by the elements. With the opening sequence Arthus-Bertrand wishes to impart the message of interdependence and reliance on elements—core concepts of ecology. Balance, another key theme in ecology, is introduced with an allusion to the Icarus myth in a sequence depicting Dubai. The story of Icarus’s fall from the sky after flying too close to the sun is a symbolic retelling of hubris—a violent pride and arrogance punishable by nemesis—destruction, which ultimately restores balance by forcing the individual back within the limits transgressed (Littleton 712). In Arthus-Bertrand’s portrayal of Dubai, the camera slowly tilts upwards on the Burj Khalifa tower, the tallest human-made structure ever built. The construction works on the tower explicitly frame humans against the bright blue sky in their attempt to reach ever further, transgressing their limitations much like the ill-fated Icarus. Arthus-Bertrand warns that contemporary modernity does not strive for balance or moderation, and with climate change we may have brought our nemesis upon ourselves. By suggesting new dominant paradigms and providing a critique of current maxims, Home’s retelling of myths ultimately sees spectators through to the final stage of the ritual. The last phase in the rite of passage “celebrates and commemorates transcendent powers,” (Deflem 8) marking subjects’ rebirth to a new status and distinctive perception of the outside world. It is at this stage that Arthus-Bertrand resolves the emotional distress uncovered in the separation phase. The film-maker uses humanity’s innate capacity for creation and renewal as a cathartic cleansing aimed at reconciling spectators’ guilt and shame in having inadvertently exacerbated global environmental degradation. Arthus-Bertrand identifies renewable resources as the key to redeeming technology, human intervention in the landscape, and finally humanity itself. Until now, the film-maker pictured modernity and technology, evidenced in his portrayal of Dubai, as synonymous with excess and disrespect for the interconnectedness and balance of elements on Earth. The final sequence shows a very different face of technology. Here, we see a mechanical sea-snake generating electricity by riding the waves off the coast of Scotland and solar panels turning towards the sun in the Sahara desert. Technology’s redemption is evidenced in its ability to imitate nature—a move towards geocentric consciousness (a lesson learned from the ritual’s liminal stage). Moreover, these human-made structures, unlike the skyscrapers earlier in the film, appear a lot less invasive in the landscape and speak of moderation and union with nature. With the above examples Arthus-Bertrand suggests that humanity can shed the greed that drove it to dig deeper and deeper into the Earth to acquire non-renewable resources such as oil and coal, what the narrator describes as “treasures buried deep.” The incorporation of principles of ecology, such as balance and interconnectedness, into humanity’s behaviour ushers in reconciliation and ritual cleansing in Home. Following the description of the move toward renewable resources, the narrator reveals that “worldwide four children out of five attend school, never has learning been given to so many human beings” marking education, innovation, and creativity as the true inexhaustible resources on Earth. Lastly, the description of Antarctica in Home is the essence of Arthus-Bertrand’s argument for our innate capacity to create, not simply exploit and destroy. Here, the narrator describes the continent as possessing “immense natural resources that no country can claim for itself, a natural reserve devoted to peace and science, a treaty signed by 49 nations has made it a treasure shared by all humanity.” Innovation appears to fuel humankind’s transcendence to a state where it is capable of compassion, unification, sharing, and finally creating treasures. With these examples Arthus-Bertrand suggests that humanity has an innate capacity for creative energy that awaits authentic expression and can turn humankind from destroyer to creator. In recent years various risk communication texts have explicitly addressed climate change, endeavouring to instigate environmentally consequential social action. Home breaks discursive ground among them through its ritualistic construction which seeks to transform spectators’ perception, and in turn roles and responsibilities, in the face of global environmental risks. Unlike recent climate change media texts such as An Inconvenient Truth (2006), The 11th Hour (2007), The Age of Stupid (2009), Carbon Nation (2010) and Earth: The Operator’s Manual (2011), Home eludes simple genre classification. On the threshold of photography and film, documentary and fiction, Arthus-Bertrand’s work is best classified as an advocacy film promoting public debate and engagement with a universal concern—the state of the environment. The film’s website, available in multiple languages, contains educational material, resources to organise public screenings, and a link to GoodPlanet.info: a website dedicated to environmentalism, including legal tools and initiatives to take action. The film-maker’s approach to using Home as a basis for education and raising awareness corresponds to Antonio Lopez’s critique of contemporary mass-media communications of global risks. Lopez rebukes traditional forms of mediatised communication that place emphasis on the imparting of knowledge and instead calls for a participatory, discussion-driven, organic media approach, akin to a communion or a ritual (106). Moreover, while texts often place a great emphasis on the messenger, for instance Al Gore in An Inconvenient Truth, Leonardo DiCaprio in The 11th Hour, or geologist Dr. Richard Alley in Earth: The Operator’s Manual, Home’s messenger remains unseen—the narrator is only identified at the very end of the film among the credits. The film-maker’s decision to forego a central human character helps dissociate the message from the personality of the messenger which aids in establishing and maintaining the geocentric sensibility of the text. Finally, the ritual’s invocation and cathartic cleansing of emotional distress enables Home to at once acknowledge our environmentally destructive past habits and point to a hopeful, environmentally sustainable future. While The Age of Stupid mostly focuses on humanity’s present and past failures to respond to an imminent environmental catastrophe, Carbon Nation, with the tagline “A climate change solutions movie that doesn’t even care if you believe in climate change,” only explores the potential future business opportunities in turning towards renewable resources and environmentally sustainable practices. The three-phased processural form of the ritual allows for a balance of backward and forward-looking, establishing the possibility of change and renewal in the face of world risk. The ritual is a transformative experience. As Turner states, rituals “interrupt the flow of social life and force a group to take cognizance of its behaviour in relation to its own values, and even question at times the value of those values” (“Dramatic Ritual” 82). Home, a ritualised media text, is an invitation to look at our world, its dominant social paradigms, and the key element within that world—ourselves—with new eyes. It makes explicit contemporary post-industrial society’s dependence on the environment, highlights our impact on Earth, and reveals our complicity in bringing about a contemporary world risk. The ritual structure and the self-reflexivity allow Arthus-Bertrand to transform climate change into a personally salient issue. This bestows upon the spectator the responsibility to act and to reconcile the spectre of the past with the vision of the future.Acknowledgments The author would like to thank Dr. Angi Buettner whose support, guidance, and supervision has been invaluable in preparing this article. 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The success of our national efforts would be significantly enhanced provided the developed countries affirm their responsibility for accumulated green house gas emissions and fulfill their commitments under the United Nations framework Convention on Climate Change (UNFCCC) to transfer new and additional financial resources climate friendly technology to support both adaptation and mitigation in developing countries. Clean Development Mechanics (CDM) is a tool of weather patterns over periods ranging from decades to millions of years. CDM change in average weather conditions, or in the distribution of weather around the average conditions. It is caused by factors that include oceanic processes variations in solar radiation received by Earth, plate tectonics and volcanic eruption, and human-induced alterations of the natural world; these latter effects are currently using CDM “climate change” is often used to describe human-specific impacts. Scientists work to understand past and future climate by using observations and theoretical models. Temperature profiles, ice cores, floral and faunal records, glacial and per glacial processes, stable isotope and other sediment analyses, and sea level records serve to provide a climate record that spans the geologic past. More recent data are provided by the instrumental record. On other hand climate change risks are becoming biggest challenges of 21st century such as rising sea levels, that could force us to alter many of the ways economic and social activity are arranged. Climate-related changes may threaten human health, disrupt economic activity, damage natural ecosystems irreversibly, and even lead to mass migration, food shortage, and other global humanitarian crises. We have to outline the global climate strategy to curb it such as: conversion to lower carbon economies in both developed and developing countries, with market-based incentive schemes dominant in the former group, and low-carbon technology transfer schemes dominant in the latter. Engineering new and innovative form in the market in India using National Action Plan for Climate Change (NAPCC) is the rate at which energy is received from the sun and the rate at which it is lost to space determine the equilibrium temperature and climate of Earth. This energy is distributed around the globe by winds, ocean currents, and other mechanisms to affect the climates of different regions. Factors that can shape climate are called climate forcing or “forcing mechanisms”. The Innovative project processes such as variations in solar radiation, variations in the Earth's orbit, mountain- building and continental drift and changes in greenhouse gas concentrations. India faced with the challenge of sustaining its rapid economic growth while dealing with the global threat of climate change using CDM.

IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and human interactions and demands, where creative art and design can make space and give voice to the dynamics of exchange between the landscape and its inhabitants. Consideration of three recent art and design projects based in the Midlands reveal the potential for cross-disciplinary research, embedded in both environment and community, to create distinctive and specific forms of connectivity that articulate a regional identify.The Tasmanian Midlands have been identified as a biodiversity hotspot (Australian Government), with a long history of Aboriginal cultural management disrupted by colonial invasion. Recent archaeological work in the Midlands, including the Kerry Lodge Archaeology and Art Project, has focused on the use of convict labour during the nineteenth century in opening up the Midlands for settler agriculture and transport. Now, the Midlands are placed under increasing pressure by changing agricultural practices such as large-scale irrigation. At the same time as this intensification of agricultural activity, significant progress has been made in protecting, preserving and restoring endemic ecologies. This progress has come through non-government conservation organisations, especially Greening Australia and their program Tasmanian Island Ark, and private landowners placing land under conservation covenants. These pressures and conservation activities give rise to research opportunities in the biological sciences, but also pose challenges in communicating the value of conservation and research outcomes to a wider public. The Species Hotel project, beginning in 2016, engaged with the aims of restoration ecology through speculative design while The Marathon Project, a multi-year curatorial art project based on a single property that contains both conservation and commercially farmed zones.This article questions the role of regionality in these three interconnected projects—Kerry Lodge, Species Hotel, and Marathon—sited in the Tasmanian Midlands: the three projects share a concern with the specificities of the region through engagement with specifics sites and their histories and ecologies, while also acknowledging the forces that shape these sites as far more mobile and global in scope. It also considers the interdisciplinary nature of these projects, in the crossover of art and design with ecological, archaeological and agricultural practices of measuring and intervening in the land, where communication and interpretation may be in tension with functionality. These projects suggest ways of working that connect the ecological and the cultural spheres; importantly, they see rural locations as sites of knowledge production; they test the value of small-scale and ephemeral interventions to explore the place of art and design as intervention within colonised landscape.Regions are also defined by overlapping circles of control, interest, and authority. We test the claim that these projects, which operate through cross-disciplinary collaboration and network with a range of stakeholders and community groups, successfully benefit the region in which they are placed. We are particularly interested in the challenges of working across institutions which both claim and enact connections to the region without being centred there. These projects are initiatives resulting from, or in collaboration with, University of Tasmania, an institution that has taken a recent turn towards explicitly identifying as place-based yet the placement of the Midlands as the gap between campuses risks attenuating the institution’s claim to be of this place. Paul Carter, in his discussion of a regional, site-specific collaboration in Alice Springs, flags how processes of creative place-making—operating through mythopoetic and story-based strategies—requires a concrete rather than imagined community that actively engages a plurality of voices on the ground. We identify similar concerns in these art and design projects and argue that iterative and long-term creative projects enable a deeper grappling with the complexities of shared regional place-making. The Midlands is aptly named: as a region, it is defined by its geographical constraints and relationships to urban centres. Heading south from the northern city of Launceston, travellers on the Midland Highway see scores of farming properties networking continuously for around 175 kilometres south to the outskirts of Brighton, the last major township before the Tasmanian capital city of Hobart. The town of Ross straddles latitude 42 degrees south—a line that has historically divided Tasmania into the divisions of North and South. The region is characterised by extensive agricultural usage and small remnant patches of relatively open dry sclerophyll forest and lowland grassland enabled by its lower attitude and relatively flatter terrain. The Midlands sit between the mountainous central highlands of the Great Western Tiers and the Eastern Tiers, a continuous range of dolerite hills lying south of Ben Lomond that slope coastward to the Tasman Sea. This area stretches far beyond the view of the main highway, reaching east in the Deddington and Fingal valleys. Campbell Town is the primary stopping point for travellers, superseding the bypassed towns, which have faced problems with lowering population and resulting loss of facilities.Image 1: Southern Midland Landscape, Ross, Tasmania, 2018. Image Credit: Patrick Sutczak.Predominantly under private ownership, the Tasmanian Midlands are a contested and fractured landscape existing in a state of ecological tension that has occurred with the dominance of western agriculture. For over 200 years, farmers have continually shaped the land and carved it up into small fragments for different agricultural agendas, and this has resulted in significant endemic species decline (Mitchell et al.). The open vegetation was the product of cultural management of land by Tasmanian Aboriginal communities (Gammage), attractive to settlers during their distribution of land grants prior to the 1830s and a focus for settler violence. As documented cartographically in the Centre for 21st Century Humanities’ Colonial Frontier Massacres in Central and Eastern Australia 1788–1930, the period 1820–1835, and particularly during the Black War, saw the Midlands as central to the violent dispossession of Aboriginal landowners. Clements argues that the culture of violence during this period also reflected the brutalisation that the penal system imposed upon its subjects. The cultivation of agricultural land throughout the Midlands was enabled by the provision of unfree convict labour (Dillon). Many of the properties granted and established during the colonial period have been held in multi-generational family ownership through to the present.Within this patchwork of private ownership, the tension between visibility and privacy of the Midlands pastures and farmlands challenges the capacity for people to understand what role the Midlands plays in the greater Tasmanian ecology. Although half of Tasmania’s land areas are protected as national parks and reserves, the Midlands remains largely unprotected due to private ownership. When measured against Tasmania’s wilderness values and reputation, the dry pasturelands of the Midland region fail to capture an equivalent level of visual and experiential imagination. Jamie Kirkpatrick describes misconceptions of the Midlands when he writes of “[f]latness, dead and dying eucalypts, gorse, brown pastures, salt—environmental devastation […]—these are the common impression of those who first travel between Spring Hill and Launceston on the Midland Highway” (45). However, Kirkpatrick also emphasises the unique intimate and intricate qualities of this landscape, and its underlying resilience. In the face of the loss of paddock trees and remnants to irrigation, change in species due to pasture enrichment and introduction of new plant species, conservation initiatives that not only protect but also restore habitat are vital. The Tasmanian Midlands, then, are pastoral landscapes whose seeming monotonous continuity glosses over the radical changes experienced in the processes of colonisation and intensification of agriculture.Underlying the Present: Archaeology and Landscape in the Kerry Lodge ProjectThe major marker of the Midlands is the highway that bisects it. Running from Hobart to Launceston, the construction of a “great macadamised highway” (Department of Main Roads 10) between 1820–1850, and its ongoing maintenance, was a significant colonial project. The macadam technique, a nineteenth century innovation in road building which involved the laying of small pieces of stone to create a surface that was relatively water and frost resistant, required considerable but unskilled labour. The construction of the bridge at Kerry Lodge, in 1834–35, was simultaneous with significant bridge buildings at other major water crossings on the highway, (Department of Main Roads 16) and, as the first water crossing south of Launceston, was a pinch-point through which travel of prisoners could be monitored and controlled. Following the completion of the bridge, the site was used to house up to 60 male convicts in a road gang undergoing secondary punishment (1835–44) and then in a labour camp and hiring depot until 1847. At the time of the La Trobe report (1847), the buildings were noted as being in bad condition (Brand 142–43). After the station was disbanded, the use of the buildings reverted to the landowners for use in accommodation and agricultural storage.Archaeological research at Kerry Lodge, directed by Eleanor Casella, investigated the spatial and disciplinary structures of smaller probation and hiring depots and the living and working conditions of supervisory staff. Across three seasons (2015, 2016, 2018), the emerging themes of discipline and control and as well as labour were borne out by excavations across the site, focusing on remnants of buildings close to the bridge. This first season also piloted the co-presence of a curatorial art project, which grew across the season to include eleven practitioners in visual art, theatre and poetry, and three exhibition outcomes. As a crucial process for the curatorial art project, creative practitioners spent time on site as participants and observers, which enabled the development of responses that interrogated the research processes of archaeological fieldwork as well as making connections to the wider historical and cultural context of the site. Immersed in the mundane tasks of archaeological fieldwork, the practitioners involved became simultaneously focused on repetitive actions while contemplating the deep time contained within earth. This experience then informed the development of creative works interrogating embodied processes as a language of site.The outcome from the first fieldwork season was earthspoke, an exhibition shown at Sawtooth, an artist-run initiative in Launceston in 2015, and later re-installed in Franklin House, a National Trust property in the southern suburbs of Launceston.Images 2 and 3: earthspoke, 2015, Installation View at Sawtooth ARI (top) and Franklin House (bottom). Image Credits: Melanie de Ruyter.This recontextualisation of the work, from contemporary ARI (artist run initiative) gallery to National Trust property enabled the project to reach different audiences but also raised questions about the emphases that these exhibition contexts placed on the work. Within the white cube space of the contemporary gallery, connections to site became more abstracted while the educational and heritage functions of the National Trust property added further context and unintended connotations to the art works.Image 4: Strata, 2017, Installation View. Image Credit: Karen Hall.The two subsequent exhibitions, Lines of Site (2016) and Strata (2017), continued to test the relationship between site and gallery, through works that rematerialised the absences on site and connected embodied experiences of convict and archaeological labour. The most recent iteration of the project, Strata, part of the Ten Days on the Island art festival in 2017, involved installing works at the site, marking with their presence the traces, fragments and voids that had been reburied when the landscape returned to agricultural use following the excavations. Here, the interpretive function of the works directly addressed the layered histories of the landscape and underscored the scope of the human interventions and changes over time within the pastoral landscape. The interpretative role of the artworks formed part of a wider, multidisciplinary approach to research and communication within the project. University of Manchester archaeology staff and postgraduate students directed the excavations, using volunteers from the Launceston Historical Society. Staff from Launceston’s Queen Victorian Museum and Art Gallery brought their archival and collection-based expertise to the site rather than simply receiving stored finds as a repository, supporting immediate interpretation and contextualisation of objects. In 2018, participation from the University of Tasmania School of Education enabled a larger number of on-site educational activities than afforded by previous open days. These multi-disciplinary and multi-organisational networks, drawn together provisionally in a shared time and place, provided rich opportunities for dialogue. However, the challenges of sustaining these exchanges have meant ongoing collaborations have become more sporadic, reflecting different institutional priorities and competing demands on participants. Even within long-term projects, continued engagement with stakeholders can be a challenge: while enabling an emerging and concrete sense of community, the time span gives greater vulnerability to external pressures. Making Home: Ecological Restoration and Community Engagement in the Species Hotel ProjectImages 5 and 6: Selected Species Hotels, Ross, Tasmania, 2018. Image Credits: Patrick Sutczak. The Species Hotels stand sentinel over a river of saplings, providing shelter for animal communities within close range of a small town. At the township of Ross in the Southern Midlands, work was initiated by restoration ecologists to address the lack of substantial animal shelter belts on a number of major properties in the area. The Tasmania Island Ark is a major Greening Australia restoration ecology initiative, connecting 6000 hectares of habitat across the Midlands. Linking larger forest areas in the Eastern Tiers and Central Highlands as well as isolated patches of remnant native vegetation, the Ark project is vital to the ongoing survival of local plant and animal species under pressure from human interventions and climate change. With fragmentation of bush and native grasslands in the Midland landscape resulting in vast open plains, the ability for animals to adapt to pasturelands without shelter has resulted in significant decline as animals such as the critically endangered Eastern Barred Bandicoot struggle to feed, move, and avoid predators (Cranney). In 2014 mass plantings of native vegetation were undertaken along 16km of the serpentine Macquarie River as part of two habitat corridors designed to bring connectivity back to the region. While the plantings were being established a public art project was conceived that would merge design with practical application to assist animals in the area, and draw community and public attention to the work that was being done in re-establishing native forests. The Species Hotel project, which began in 2016, emerged from a collaboration between Greening Australia and the University of Tasmania’s School of Architecture and Design, the School of Land and Food, the Tasmanian College of the Arts and the ARC Centre for Forest Value, with funding from the Ian Potter Foundation. The initial focus of the project was the development of interventions in the landscape that could address the specific habitat needs of the insect, small mammal, and bird species that are under threat. First-year Architecture students were invited to design a series of structures with the brief that they would act as ‘Species Hotels’, and once created would be installed among the plantings as structures that could be inhabited or act as protection. After installation, the privately-owned land would be reconfigured so to allow public access and observation of the hotels, by residents and visitors alike. Early in the project’s development, a concern was raised during a Ross community communication and consultation event that the surrounding landscape and its vistas would be dramatically altered with the re-introduced forest. While momentary and resolved, a subtle yet obvious tension surfaced that questioned the re-writing of an established community’s visual landscape literacy by non-residents. Compact and picturesque, the architectural, historical and cultural qualities of Ross and its location were not only admired by residents, but established a regional identity. During the six-week intensive project, the community reach was expanded beyond the institution and involved over 100 people including landowners, artists, scientists and school children from the region (Wright), attempting to address and channel the concerns of residents about the changing landscape. The multiple timescales of this iterative project—from intensive moments of collaboration between stakeholders to the more-than-human time of tree growth—open spaces for regional identity to shift as both as place and community. Part of the design brief was the use of fully biodegradable materials: the Species Hotels are not expected to last forever. The actual installation of the Species Hotelson site took longer than planned due to weather conditions, but once on site they were weathering in, showing signs of insect and bird habitation. This animal activity created an opportunity for ongoing engagement. Further activities generated from the initial iteration of Species Hotel were the Species Hotel Day in 2017, held at the Ross Community Hall where presentations by scientists and designers provided feedback to the local community and presented opportunities for further design engagement in the production of ephemeral ‘species seed pies’ placed out in and around Ross. Architecture and Design students have gone on to develop more examples of ‘ecological furniture’ with a current focus on insect housing as well as extrapolating from the installation of the Species Hotels to generate a VR visualisation of the surrounding landscape, game design and participatory movement work that was presented as part of the Junction Arts Festival program in Launceston, 2017. The intersections of technologies and activities amplified the lived in and living qualities of the Species Hotels, not only adding to the connectivity of social and environmental actions on site and beyond, but also making a statement about the shared ownership this project enabled.Working Property: Collaboration and Dialogues in The Marathon Project The potential of iterative projects that engage with environmental concerns amid questions of access, stewardship and dialogue is also demonstrated in The Marathon Project, a collaborative art project that took place between 2015 and 2017. Situated in the Northern Midland region of Deddington alongside the banks of the Nile River the property of Marathon became the focal point for a small group of artists, ecologists and theorists to converge and engage with a pastoral landscape over time that was unfamiliar to many of them. Through a series of weekend camps and day trips, the participants were able to explore and follow their own creative and investigative agendas. The project was conceived by the landowners who share a passion for the history of the area, their land, and ideas of custodianship and ecological responsibility. The intentions of the project initially were to inspire creative work alongside access, engagement and dialogue about land, agriculture and Deddington itself. As a very small town on the Northern Midland fringe, Deddington is located toward the Eastern Tiers at the foothills of the Ben Lomond mountain ranges. Historically, Deddington is best known as the location of renowned 19th century landscape painter John Glover’s residence, Patterdale. After Glover’s death in 1849, the property steadily fell into disrepair and a recent private restoration effort of the home, studio and grounds has seen renewed interest in the cultural significance of the region. With that in mind, and with Marathon a neighbouring property, participants in the project were able to experience the area and research its past and present as a part of a network of working properties, but also encouraging conversation around the region as a contested and documented place of settlement and subsequent violence toward the Aboriginal people. Marathon is a working property, yet also a vital and fragile ecosystem. Marathon consists of 1430 hectares, of which around 300 lowland hectares are currently used for sheep grazing. The paddocks retain their productivity, function and potential to return to native grassland, while thickets of gorse are plentiful, an example of an invasive species difficult to control. The rest of the property comprises eucalypt woodlands and native grasslands that have been protected under a conservation covenant by the landowners since 2003. The Marathon creek and the Nile River mark the boundary between the functional paddocks and the uncultivated hills and are actively managed in the interface between native and introduced species of flora and fauna. This covenant aimed to preserve these landscapes, linking in with a wider pattern of organisations and landowners attempting to address significant ecological degradation and isolation of remnant bushland patches through restoration ecology. Measured against the visibility of Tasmania’s wilderness identity on the national and global stage, many of the ecological concerns affecting the Midlands go largely unnoticed. The Marathon Project was as much a project about visibility and communication as it was about art and landscape. Over the three years and with its 17 participants, The Marathon Project yielded three major exhibitions along with numerous public presentations and research outputs. The length of the project and the autonomy and perspectives of its participants allowed for connections to be formed, conversations initiated, and greater exposure to the productivity and sustainability complexities playing out on rural Midland properties. Like Kerry Lodge, the 2015 first year exhibition took place at Sawtooth ARI. The exhibition was a testing ground for artists, and a platform for audiences, to witness the cross-disciplinary outputs of work inspired by a single sheep grazing farm. The interest generated led to the rethinking of the 2016 exhibition and the need to broaden the scope of what the landowners and participants were trying to achieve. Image 7: Panel Discussion at Open Weekend, 2016. Image Credit: Ron Malor.In November 2016, The Marathon Project hosted an Open Weekend on the property encouraging audiences to visit, meet the artists, the landowners, and other invited guests from a number of restoration, conservation, and rehabilitation organisations. Titled Encounter, the event and accompanying exhibition displayed in the shearing shed, provided an opportunity for a rhizomatic effect with the public which was designed to inform and disseminate historical and contemporary perspectives of land and agriculture, access, ownership, visitation and interpretation. Concluding with a final exhibition in 2017 at the University of Tasmania’s Academy Gallery, The Marathon Project had built enough momentum to shape and inform the practice of its participants, the knowledge and imagination of the public who engaged with it, and make visible the precarity of the cultural and rural Midland identity.Image 8. Installation View of The Marathon Project Exhibition, 2017. Image Credit: Patrick Sutczak.ConclusionThe Marathon Project, Species Hotel and the Kerry Lodge Archaeology and Art Project all demonstrate the potential of site-based projects to articulate and address concerns that arise from the environmental and cultural conditions and histories of a region. Beyond the Midland fence line is a complex environment that needed to be experienced to be understood. Returning creative work to site, and opening up these intensified experiences of place to a public forms a key stage in all these projects. Beyond a commitment to site-specific practice and valuing the affective and didactic potential of on-site installation, these returns grapple with issues of access, visibility and absence that characterise the Midlands. Paul Carter describes his role in the convening of a “concretely self-realising creative community” in an initiative to construct a meeting-place in Alice Springs, a community defined and united in “its capacity to imagine change as a negotiation between past, present and future” (17). Within that regional context, storytelling, as an encounter between histories and cultures, became crucial in assembling a community that could in turn materialise story into place. In these Midlands projects, a looser assembly of participants with shared interests seek to engage with the intersections of plant, human and animal activities that constitute and negotiate the changing environment. The projects enabled moments of connection, of access, and of intervention: always informed by the complexities of belonging within regional locations.These projects also suggest the need to recognise the granularity of regionalism: the need to be attentive to the relations of site to bioregion, of private land to small town to regional centre. The numerous partnerships that allow such interconnect projects to flourish can be seen as a strength of regional areas, where proximity and scale can draw together sets of related institutions, organisations and individuals. However, the tensions and gaps within these projects reveal differing priorities, senses of ownership and even regional belonging. Questions of who will live with these project outcomes, who will access them, and on what terms, reveal inequalities of power. Negotiations of this uneven and uneasy terrain require a more nuanced account of projects that do not rely on the geographical labelling of regions to paper over the complexities and fractures within the social environment.These projects also share a commitment to the intersection of the social and natural environment. They recognise the inextricable entanglement of human and more than human agencies in shaping the landscape, and material consequences of colonialism and agricultural intensification. Through iteration and duration, the projects mobilise processes that are responsive and reflective while being anchored to the materiality of site. Warwick Mules suggests that “regions are a mixture of data and earth, historically made through the accumulation and condensation of material and informational configurations”. Cross-disciplinary exchanges enable all three projects to actively participate in data production, not interpretation or illustration afterwards. Mules’ call for ‘accumulation’ and ‘configuration’ as productive regional modes speaks directly to the practice-led methodologies employed by these projects. The Kerry Lodge and Marathon projects collect, arrange and transform material taken from each site to provisionally construct a regional material language, extended further in the dual presentation of the projects as off-site exhibitions and as interventions returning to site. The Species Hotel project shares that dual identity, where materials are chosen for their ability over time, habitation and decay to become incorporated into the site yet, through other iterations of the project, become digital presences that nonetheless invite an embodied engagement.These projects centre the Midlands as fertile ground for the production of knowledge and experiences that are distinctive and place-based, arising from the unique qualities of this place, its history and its ongoing challenges. Art and design practice enables connectivity to plant, animal and human communities, utilising cross-disciplinary collaborations to bring together further accumulations of the region’s intertwined cultural and ecological landscape.ReferencesAustralian Government Department of the Environment and Energy. Biodiversity Conservation. Canberra: Commonwealth of Australia, 2018. 1 Apr. 2019 <http://www.environment.gov.au/biodiversity/conservation>.Brand, Ian. The Convict Probation System: Van Diemen’s Land 1839–1854. Sandy Bay: Blubber Head Press, 1990.Carter, Paul. “Common Patterns: Narratives of ‘Mere Coincidence’ and the Production of Regions.” Creative Communities: Regional Inclusion & the Arts. Eds. Janet McDonald and Robert Mason. Bristol: Intellect, 2015. 13–30.Centre for 21st Century Humanities. Colonial Frontier Massacres in Central and Eastern Australia 1788–1930. 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