I have been searching for more secondary sources on climate change and social media, and found this fascinating piece exploring several examples of case studies done in the global south.
Most of our research so far has been strongly London-based and emphasises climate change’s effectiveness on the northern hemisphere and Western countries, but considering its cross-continental effects on the global south with a focus on Asia-Pacific is something worth thinking about too. Perhaps not for our presentation’s central point, but as an issue we can acknowledge – knowing that the effects on the global south, and the differences in social media usage and distribution of technology, will also create a divide in how people approach climate change and the urgency with which they do so.
I found it particularly interesting how social media is used as a tool for participatory arts practices and disaster documentation and archiving, as seen in the following source:
‘Screen Cultures in the Asia-Pacific’
Authors: Larissa Hjorth, Sarah Pink, Kristen Sharp and Linda Williams
Book: Screen Ecologies: Art, Media, and the Environment in the Asia-Pacific Region (MIT Press, 2016), pp. 57-88
- Social media (particularly mobile media and its platforms) allows users to become active members in the experience, management and aftermath of environmental disasters
- Example: in Japan, in the aftermath of the earthquake, tsunami, and subsequent Fukushima nuclear reactor disaster in March 2011, mobile phones were used extensively to capture and disseminate images around the globe. For many people, Twitter messages and still and moving images taken with camera phones not only embodied the effect and affect of the disaster but also became the repository for various forms of personal and communal grief and bereavement (Hjorth and Kim 2011)
- Note that national Japanese broadcaster NHK had deliberately withheld information from the public on the government’s orders
- Social and mobile media act as both witness and alibi
- In contrast, those without access to mobile phones had less opportunity to mobilise and take agency in the dissemination of information and media about environmental disasters
- Example: in the Philippines an initial lack of images surrounding Haiyan was due to the fact that many affected people shared one mobile phone among a family, and most of these phones did not have cameras. Instead the images that emerged from the disaster were by professional photojournalists. They were well conceived in terms of the conventions of photojournalism, with attention to composition, and could be interpreted as being highly contrived. These were not the highly personal, intimate, DIY images associated with mobile media.
- New media artists e.g. New Zealander Janine Randerson
- In 2008, Randerson monitored the effects of climate change on animal and bird migration, then combined scientific data visualisation with found amateur footage from YouTube to create her video installation Cascade
- Camera phone apps and images can be used for documenting, sharing, communicating, and critically commenting on environmental disasters to everyday experiences of the environment, but themselves contribute to the perpetuation of the consumer society that is a factor in climate change
- Digital platforms break down parameters between the amateur and the professional, leading to a democratisation of media usage and dissemination
- Camera phone as a critical part of the environment being an embodied and affective experience of place
- Note that accessibility expansion via social media must be understood in relation to ways in which the technologies are part of globally distributed corporate and institutional power relations supported by national agendas and consumer cultures
- Mobile media nevertheless still plays a significant role in the making of critical and participatory arts practice in relation to climate change
- How can environmentally responsible uses of digital media engage in the mitigation of climate change through arts practice?