#environmental issues

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‘What do we want to say and how do we want to say it and to whom?’

• For years we’ve been warning against artists ‘parachuting’ into unfamiliar territory.

• Socially involved Art Workers, like everybody else, have to choose among the tsunami of issues around sustainability that we should be weighing in on, fighting for. But sometimes it feels like we are spread so thin that we will blow away. As a South-Westerner my list is headed by climate change, water, indigenous rights, saving public lands and the heartbreaking fates of the youthful undocumented immigrants of DACA (Deferred Action for Childhood Arrivals) whose lives have been put in terrible limbo because they had the courage to risk their futures by speaking out against unfair immigration policies.

• Confronted by this endless list we have to focus, hard as it may be, to choose. We have to ask ourselves ‘What do we want to say and how do we want to say it and to whom?’

• Of course the rest of the endless litany is equally important: racism, poverty, incarceration, guns, #metoo, #timesup, homophobia, police brutality, Middle Eastern wars and Palestinian rights, deadly pollution on land and sea, the toll of fossil fuel extraction, race, gender, class, religion. What did I miss?

• Suzanne Lacy, who is my longtime Social Practice mentor, say she works at the intersection of community, development and visual art; she talks about creating ‘Citizen Artists’. She’s a genius at contextualising non-Art contexts, at choreographing collective expression and bringing unheard voices to the foreground; if not exactly the centre.

• These days Lacy’s planning for a solo show at the San Fransisco Museum and she’s struggling over how to create visual impact in a museum while maintaining authenticity within the community. She says ‘The Art World is where I get to TALK, the Community is where I get to LISTEN.’

• Suzanne has said if she hadn’t been interested in addressing the Art World she would have gone into politics and she credits Allan Kaprow with showing her the advantages of putting LIFE into the GALLERY and putting the GALLERY into LIFE. She talks about not starting with an idea but arriving at the idea as it’s generated by those at the table.

• A recent panel in Santa Fe on Feminism and Intersectionality emphasised ‘Radical Inclusiveness’ and made several points about entering a community that is not our own:

– Take part but don’t take-the-lead.
– Curiosity is good but not voyeurism.
– Honesty is good, condescension isn’t.
– You cant fake empathy.

• Have we educated ourselves about unfamiliar cultures? Listen. Do they want our help? Who are they and who are we? Shouldn’t it be just ‘we’?

• Artists working ‘in’ communities have to work ‘with’ communities and sometimes social success means aesthetic sacrifice.

• We are still a long way from achieving the gender and racial fluidity that we’ve begun to contemplate in recent decades. Black Lives Matter has changed the dialogue and upped-the-ante just as #MeToo and #TimesUp are resurrecting Feminist issues and some real soul-searching about ‘whiteness’.

• There’s no question that we need ‘thicker skins’ in order to really understand racism within our society. I’m always torn between staying safe, focusing on what I know, and venturing into areas where I may not be welcome and my ignorance will be exposed. I’m not entirely sure why the terms Multiculturalism and Identity Politics are so discredited (I know the Right Wing has had a lot to do with it) since they are terms that lead to a consideration of diversity, hybridity, cross-overs and ‘intersectionality’ – the favourite terms these days for working across boundaries, and even across walls.

• In the last few years groups formally perceived as voiceless have stood up and finally been heard. Indigenous people at Standing Rock and in the Idle No More movement, have raised consciousness not only about pipelines, clean water and treaty rights but suddenly the Art World knows something about Indians…which is rare.

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Q: What do we want to SUSTAIN?
Certainly not the status quo! Western-so-called-Civilisation? ALL Civilisation? How about the entire planet and everything on it? How do we do that? We as a society are JUST beginning to understand that Social Sustainability is inextricably linked to Ecological Sustainability, which is a basic necessity for survival, and for Public Practice Art. Like Public Practice, sustainability is dependent on empathy and down-sizing, both of which are hard to achieve in a racist, capitalist society based entirely upon unsustainable growth, non-stop-for-profit-expansion and to-Hell with the consequences. Growth of everything from mansions to nuclear arsenals to strip-mines to corporate conglomerates to ever-larger-and-more-expensive-installations and artworks. 

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• E.F.Schumacher’s influential 1973 book ‘Small is Beautiful – Economics as if People Mattered’ occupies a small but beautiful place in our pantheon. In this country ‘small’ is no longer just ‘beautiful’ its CRUCIAL. It’s not just a matter of tiny houses, urban in-fill, biking, resource conservation, environmental protection, recycling and planned parenthood. It’s a psychological impetus that is needed EVERYWHERE. Downsize or die. Halt or at least ‘slow’ growth until some sort of sustainable justice for both PEOPLE and the PLANET is reached.

• Let’s take a moment, this moment, to salute organic growth. It’s Spring, seeds are sprouting, and a lot of you are just beginning your activist lives.

• When we are talking about ‘inclusivity’, about uniting whole communities, the bigger the scale, the broader the reach the better. Part of downsizing for socially engaged and Eco Artists is conceiving of ones art within a context of unsustainable resources like water and fossil fuels. Building towards the future instead of planning for posterity, spending time in our own communities. We are still searching for our Post-Capitalist self. An alternative to the rugged individualism of manifest destiny. An alternative that allows working people a decent living and human rights, which are, alas, rapidly being downsized.

• I have great faith in small-scale projects that have potential to spread into much larger spheres.

• The strongest Public Practice, like Activism, starts from a specific location, from consciously ‘lived’ experience. But it as to move-on-out from there in a kind of ripple effect. If you don’t know your ‘hood’ you’re likely to idealise or disparage its inhabitants, fail to recognise threats or choose the wrong solutions as the basis of your Art.

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Q: So, where do you live? What’s your centre? How far out do the ripples go? Are you ‘following’ or are you remaining at the centre and holding the reins? Are there other Artists? Community members with whom you may have little in common until you forge alliances over issues that effect everyone? Who do you live with? Dispossessed locals, deracinated newcomers, grumpy landowners, Artists, opioid addicts, rich part-timers, stray dogs, abandoned horses, feral cats, threatened wildlife, too many damn bunnies?

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• For some of us the best way to deal with the onslaught of urgent issues is in trying to strengthen our local community.

• A concentration upon PLACE, which cant be conflated with land, site or landscape, can bring EVERYTHING into focus, including politics.

• I’ve heard from friends coming from generations of deracination, (they are often Jewish, but also Middle Eastern, African & Asian) that it’s often hard to work with rooted communities when one can identify no ‘home’ place of ones own. I insisted in a 1998 book called ‘The Lure of the Local’ that wherever we find ourselves, even for short periods, we have to take responsibility for that place as long as were are there. I talk about ‘senses of place’ (plural)… it’s a much better idea than a sense-of-place, I mean, there isn’t just one. Listening to the stories of long term occupants of the place we live and work is one way of knowing ‘where’ we’ve landed for however short or long a time.

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Q: How can Artists help change the way humans relate to nature and to each other?
We share DNA with every form of life on the planet. It’s not too late for humanity to consider the legal right of nature herself. Indigenous people are demanding rights for nature and for themselves, from India to Ecuador to New Zealand where a 400,000 acre National Park taken from the Maori’s has been designated as a ‘person’ not property. Land belongs to itself; what a concept!
Nature, which of course include ‘us’ should not be a commodity that we can sell off to the highest bidder. It’s a community we belong to and harm at our own risk. 

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• Pollution causes three times a many death as AIDS, malaria and tuberculosis combined.

• The blip-in-time that is the human race will not be missed but we’ll miss ‘us’ a lot. Everything’s coming-down-the-pipe far faster than we imagined it could. I used to worry about my grandsons and future generations down-the-line. Now I worry about my son, who is in his early 50’s.

• As things race out-of-control and we do nothing as we destroy our environment, run out of water, witness species extinction and climate change and so forth, we should know that similar catastrophes have happened to the planet many times before.

• This era, called the Anthropocene since 2000 is also dubbed the Misanthopocene or Anthromosaic. An era of loneliness and isolation as species go extinct and desertification increases, as the oceans rise and the ground waters sink. The sense of urgency is so overwhelming it can stop us in our tracks and make us hide our heads in the sand – which by the way is another endangered material.

• Sea level around Manhattan is projected to rise 6ft with this century. Huge cities can’t build a wall the way the wealthy do to protect their seaside Summer homes! As we know from East and West Germany, Israel, Palestine and the US/Mexico border – WALLS ARE NOT THE ANSWER.

• It’s coming down to a race between HUMANS and CLIMATE CHANGE to see who can get rid of us first. George Orwell said in his dystopian book, ‘1984′:
WHO CONTROLS THE PAST CONTROLS THE FUTURE.
WHO CONTROLS THE PRESENT CONTROLS THE PAST.

• Artists can create history and challenge it by telling stories of resilience that give us hope and courage. Some of us advocate destruction of offensive monuments to evil-doers others recommend their removal to museums as artefacts of an unlamented past.

• I retain my admiration for that ultimate in eye-opening Feminist truisms: THE PERSONAL IS POLITICAL AND (FOR ITS SIGNIFICANT OTHER) THE POLITICAL IS PERSONAL. These remain living and dynamic propositions. A brilliant way to translate lived-experience, positive and negative, into political consciousness. They ‘open’ ways to understand ‘others’ experiences. When we know our family histories, and those of our neighbours, and of our lands, ’who’ and ‘where’ we are in a political and historical sense, we are far better equipped to be compassionate and collaborative within a time-and-place we all share.

• Ultimately words and images offer ways to integrate our own imaginings of life into those of a polity.

• The relationship of imagination to reality and action is crucial, especially for Artists and Writers who specialise in acting in the gap between ‘two’, or between art and life. If we lean too far on the imagination side we risk falling off the edge into wishful-thinking, like ‘Visualise World Peace’ then we fall back onto the couch! Lean too far onto the reality side and we risk getting so discouraged that we get stuck in the status-quo.

• We Art Workers have always had to be satisfied with small victories, with raising consciousness rather than raising politics or changing policies. Sometimes we fool ourselves about how successful our projects can be. Yet every one of us has some faith in Art as a way of inspiring, or even jolting, or even just pin-pricking people out of their self-imposed or received stupors. Of adding visual layers to the global debates. I always say that Art Workers can’t change the World but with the right allies little miracles can happen. Well maybe not miracles, but a lot of hard work, catalysing a generation, hanging-in there.

• We need to discuss the failures as often as the successes. These times call for some tough-love and honesty with ourselves and our colleagues because being effective seems more crucial today than at any time I can remember, and i’ve been messing with this for some 60 years.
Once again…

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Q: What do we want to say and how do we want to say it? Where do we go from here?  
A: I hope you haven’t been holding your breathe for answers to all these questions cos-I-ain’t-got’em! But these questions are directed as much at me as they are at you. Personally the temptation to be cynical, nasty and bridge-burning can be overwhelming. But that puts us in the same bag as the opposition. There’s a line between skepticism and cynicism. Somebody said pessimism is a waste of time and optimists are ‘dissed’ as utopian woo-woo, and politically reactionary. It’s true that we need to be down-to-earth but we also need to have something to hope for, something to reach for.

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I hardly ever give a talk without citing Antonio Gramsci:

PESSIMISM OF THE INTELLECT / OPTIMISM OF THE WILL

…I don’t think it has ever been better said.

Thank you.

Open Engagement 2018, Queens Museum, New York

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(This transcript appeared originally as an a_n blog after being awarded a Professional Development Bursary to attend Open Engagement in New York during May 2018: https://www.a-n.co.uk/blogs/s-u-s-t-a-i-n-a-b-i-l-i-t-y-artist-bursary-2018/)


European Spotlight: AAPG Explorer Magazine / Feb 2018My Anthropocene sculptural meme continues its iEuropean Spotlight: AAPG Explorer Magazine / Feb 2018My Anthropocene sculptural meme continues its iEuropean Spotlight: AAPG Explorer Magazine / Feb 2018My Anthropocene sculptural meme continues its iEuropean Spotlight: AAPG Explorer Magazine / Feb 2018My Anthropocene sculptural meme continues its iEuropean Spotlight: AAPG Explorer Magazine / Feb 2018My Anthropocene sculptural meme continues its i

European Spotlight: AAPG Explorer Magazine / Feb 2018

My Anthropocene sculptural meme continues its international journey as the header image for the following article: Defining the Anthropocene Era: New Research Identifies Epoch-Defining ‘Golden Spike’ 

Further info on the installation: https://www.edgehill.ac.uk/news/story/habitus-art-installation-unveiled/

Further info on the publication: 

The American Association of Petroleum Geologists is an international organization with over 38000 members in 100+ countries.

http://www.aapg.org


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REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part REVOLUTION (2017) / National Festival of Making, BlackburnMixed media installationIn the first part

REVOLUTION (2017) / National Festival of Making, Blackburn

Mixed media installation

In the first part of Robyn Woolston’s project, tens of thousands of pieces of injection moulded plastic from the factory floor of MGS Technical Plastics, Blackburn, form a vast and immersive installation. Using mis-moulds, ‘sprue’ and ‘purge’, the installation works ambitiously in colour, form and scale to illustrate the nature and scale of industrial manufacturing waste.

In her complementary piece, a documentary film contrasts the 1st Industrial Revolution against our contemporary 4th. The artist’s father spent his whole life in plastic injection moulding and Woolston found herself drawn to the intergenerational narratives emerging in interviews with MGS employees, producing a film that not only draws on their stories but reaches further into our industrial heritage.

As the two halves of her work come together, historical parallels proliferate; design, fabrication and plastic moulding processes are shown in parallel with the ebb-and-flow of the Leeds to Liverpool canal, culminating in a meditation upon Lancashire-based manufacturing and its legacy.  

MANUFACTURER:

Passionate about reducing environmental waste and committed to recycling, MGS Technical Plastics is a plastic injection moulding company based in Blackburn, Lancashire. Established in 1974 they are now the production partner of some of the world’s leading brands.The company operates 20 plastic injection moulding machines, weighing from 22 - 800 tonnes, and riveting, heat staking, over moulding and pad printing are all standard processes for the team.

“Having Robyn here has been an exciting change from the ‘norm’. The team have really enjoyed the conversations that have taken place - Robyn is breath of fresh air and will always be welcome here at MGS.”

FESTIVAL BACKGROUND: 

Funded by the Heritage Lottery Fund and produced by The National Festival of Making and community-led arts commissioners, Super Slow Way, Art In Manufacturing seeks to develop the ideas of artists in unfamiliar environments and create engaging and accessible new work, as well as encouraging investigation into Britain’s manufacturing heritage, specifically that of Lancashire with direct engagement from staff members in each participating company.

“The ‘Art in Manufacturing’ commission does exactly what it says on the tin; exposing the art at play in countless, largely invisible, factories across this area where hundreds of people embark each day on creative tasks, undertaken with remarkable attention to detail, resulting in the production of the beautiful, the delicious and the complex, from the most delicate to the most durable products on earth. These people, often coming from generations that have worked in these industries, have very generously imparted their knowledge to the nine artists who, in turn, have shone a spotlight of excitement and curiosity onto their formidable skills and dedication.

We think that the outcomes of these collaborations perfectly capture the enthusiasm and mutual admiration that took place in the few short weeks it took to create them and help us all appreciate the creativity taking place in the historic factories and anonymous business parks at the end of our roads. We hope that it inspires viewers, particularly young people, to look to manufacturing as an outlet for their own creativity.”

Laurie Peake, Director of Super Slow Way

You can watch the companion film here: https://vimeo.com/215108977

Festival website: https://festivalofmaking.co.uk 


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catgirltoes:

vague-humanoid:

[image description: a series of tweets by Slow Factory @/theslowfactory. They read:

There’s a massive story unfolding in Atlanta, but it’s barely getting any media attention. Right now the city’s forest, a vital site for humans and animals alike, is under attack, and some amazing people are fighting back. Here’s the story.

Local governments and private developers are trying to cut down the Atlanta Forest to build a 300 acre police training compound and a $250 million soundstage complex using public land. /2

Community members were shocked at the announcement of these developments because they were given no opportunity to weigh in. But that’s only the first reason folks are angry. /3

There’s also the fact that Atlanta was the site of massive protests in 2020, which were especially intense after Atlanta police murdered Rayshard Brooks for sleeping in his car outside a Wendy’s. /4

When the Attorney General brought charges against Garrett Rolfe, the officer who killed Rayshard, the police themselves began to protest, calling out sick and even quitting their jobs. /5

So the fact that the city is now rewarding the police with this massive new facility is an affront to many in the community. And the cost isn’t just the $90 million price tag, it’s the destruction of a priceless forest. /6

The Atlanta forest is a precious corridor where local animals can travel safely. Its trees capture carbon and produce oxygen. The woods provide shade for walkers and hikers and bikers. Its value cannot be captured with dollar signs. /7

So people are defending the forest. There are multiple encampments in the forest, which people refuse to abandon. The forest defenders are confronting the contractors hired to cut down the trees and build the facility dubbed “Cop City” /8

Stopping the destruction of the forest and the construction of Cop City, and the soundstage, is an uphill battle. But the forest defenders have the support of a wide coalition across Atlanta and the country. And they could use your help too. /9

So check out the good folks over at @defendATLforest. They’re bringing together the important work of abolition and climate justice in real time, two interconnected struggles we have to support to reach a better world. /10

We also want to shout out @CommunityMvt, a great organization in Atlanta doing extremely important work to stop this devastating cop city project! Please give them a follow and your support!!

End description]

qpeople:

qpeople:

wlwaluigi:

solarpunkfuturenow:

Computer Powered by Colony of Blue-Green Algae For 6 Months

[ID: two comic panels, the first of a person laying on a therapy couch, and the second of them sitting up and looking over their shoulder saying, “oh shit, for real?” end ID]

it gets even cooler, because the algae didnt stop working at 6 months, thats just when they detatched the microprocessor - it was still producing currents after that!!! the article below is an update saying that it has been running for a year now, and it might run indefinitely: “Our photosynthetic device doesn’t run down the way a battery does because it’s continually using light as the energy source.”

vegance:bluespoondillon:memehumor: checkmate vegans This got me thinking:What is more moral: eating

vegance:

bluespoondillon:

memehumor:

checkmate vegans

This got me thinking:

What is more moral: eating something that knows it’s being eaten, or eating something that doesn’t know it’s being eaten, because it’s dead?

Thestudy’s actual title: „Plants respond to leaf vibrations caused by insect herbivore chewing

response to stimuli is very interesting, but it doesn’t equal sentience. It does not mean that they are able to feel stress, pain or wellbeing. It does not mean that they have the ability to suffer.

We know that most animals fell stress and pain, that they are able to suffer. This includes fish as well. X

We know that animals suffer in animal agriculture. If you are seriously concerned about plant suffering based on a few studies on plants responding to stimulation, then being vegan should be a no brainer, since the science on that is clear.

And are non vegans seriously trying to claim they don’t eat plants? Humans can be perfectly healthy without consuming animal products in general, being healthy without consuming any plants is difficult.

And lastly, animals eat plants. Eating animals causes more plant deaths than eating plants directly. So even if you do accept plant sentience, it’s still an argument in favor of veganism.


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“the human organism is so powerful that its impacts follow wherever it goes. We are never at liberty to eliminated that impact, but only to choose what it shall be” 

-W R Dickinson 

Nearly 600 water protectors have been arrested during ongoing protests in Minnesota against the construction of the Enbridge Line 3 tar sands pipeline at the Shell River, which the partially completed pipeline is set to cross in five places. On Monday, authorities arrested Indigenous leader Winona LaDuke and at least six others. She was just released from jail yesterday and joins us after three nights in jail.

Winona LaDuke: Enbridge Line 3 is owned by the Enbridge Corporation, the Canadian multinational that also owns the pipe under the streets of Mackinac. It’s a really risky Canadian corporation, 225 subsidiaries with all the money kept in Canada, and they’re shoving this pipeline down our throat. About a month ago, the Minnesota [Department of Natural Resources], which is probably the most corrupt agency in the state of Minnesota, allocated 5 billion gallons of water to Enbridge in the middle of a drought.

The Intercept reported Thursday that Minnesota police expected the Line 3 pipeline to help boost their budget to fund new weapons. The article reveals that a few weeks before Line 3 was approved for construction, Aitkin County Sherriff’s Deputy Aaron Cook bought a new assault rifle that cost $725. In a November 2020 email, Cook wrote to the gun seller: “Our budget took a hit last week, so that’s all we will be ordering for now. I am hoping the pipeline will give us an extra boost to next year’s budget, which should make it easy for me to propose an upgrade/trade to your rifles rather than a rebuild of our 8 Bushmasters,” referencing another assault rifle.

WL: They’ve been bankrolling the northern police departments. Some of the police departments like Aitkin County was saddened by Covid because they had to let people out of prison or out of jail there and [they were] losing money on their budgets and that dysfunctional system. At this point, Enbridge has been financing all these northern police departments and so you’re seeing 40 different squads show up from counties throughout the state to repress water protectors who are just trying to protect the water in northern Minnesota and arrest hundreds of us. It’s a civil crisis when a Canadian multinational controls your police force.

@allthecanadianpolitics

nativenews:

The company P&G has been laying waste to endangered boreal forests and without prior informed consent from local indigenous populations, with no regard for the destruction or pollution that result.

The Existence of Trains DebateIf you enjoy these cartoons, please reblog or support them on my Patre

The Existence of Trains Debate

If you enjoy these cartoons, please reblog or support them on my Patreon. A $1 pledge really helps!

To read my notes about the cartoon, check out the original patreon post!

Transcript:


Transcript of Cartoon

This cartoon has nine panels, arranged in a three by three grid, with a small “kicker” panel under the bottom of the cartoon.

Panel 1

We see two people on the train tracks. They are not tied to the tracks, but they are tied together, so neither one could move without the other. One person has black hair in a pony tail; the other has wavy hair and is wearing capri pants. Ponytail has a panicked expression, while Capri looks wryly amused.

PONYTAIL: I can’t believe we’re tied together on the train tracks.

CAPRI: Are we sure these are train tracks?

Panel 2

Ponytail turns her head back towards Capri to urgently suggest a plan.

PONYTAIL: If we work together, we can crawl off before a train comes.

CAPRI: There’s no evidence any train is coming.

Panel 3

Ponytail shouts a bit, angry, and Capri laughs.

PONYTAIL: The train comes at this time every day!

CAPRI: HA! What’s happened in the past can’t predict the future.

Panel 4

Ponytail panics, yelling, and Capri responds with amused dismissal.

PONYTAIL: The tracks are shaking!

CAPRI: it’s natural shaking. Haven’t you heard of earthquakes.

Panel 5

Ponytail angrily yells, and Capri sneers. (It’s a mix of a grin and a sneer).

PONYTAIL: LISTEN TO ME! I’m a train engineer, and

CAPRI: Pfft! “Engineers” are just in it for the money.

Panel 6

A close up of their heads. Ponytail is terrified now, sweat droplets flying off her. Capri remains amused.

PONYTAIL: Let’s get off the tracks, just in case! HURRY!

CAPRI: Expend all that effort over what might be nothing?

Panel 7

Ponytail yells, her eyes as big as dessert plates.

PONYTAIL: I CAN SEE THE TRAIN! WE’RE GONNA DIE!

CAPRI: You’re being hysterical.

Panel 8

This panel contains only a sound effect, in big overlapping letters, with stars flying around: CRASH

Panel 9

The same two characters are hovering in the sky, in angel outfits, including wings and halos.  Capri is shrugging but still smiling; Ponytail is yelling angrily.

CAPRI ANGEL: Okay, maybe there was a train.

PONYTAIL ANGEL: WHAT’S WRONG WITH YOU?

Small kicker panel under the bottom of the cartoon.

A bald guy talks to a fat guy with a ponytail and glasses (i.e., me, the cartoonist).

BALD GUY: Cute cartoon, but what if some readers don’t get that it’s a metaphor for global warming denial?

BARRY: I’ll find some subtle way to let them know!


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