European Union’s vulnerability to climate change stretches far beyond its borders because many of its economic sectors, such as meat and dairy, use raw materials sourced from far afield. Cross-border climate vulnerability is a relatively new subject in scientific literature, while of high societal and economic relevance. We quantify these climate vulnerabilities with a focus on drought risk and assessed them for 2030, 2050, 2085 and for RCP 2.6 and 6.0 climate scenarios. Here we find that more than 44% of the EU agricultural imports will become highly vulnerable to drought in future because of climate change. The drought severity in production locations of the agricultural imports in 2050 will increase by 35% compared to current levels of drought severity. This is particularly valid for imports that originate from Brazil, Indonesia, Vietnam, Thailand, India and Turkey. At the same time, imports from Russia, Nigeria, Peru, Ecuador, Uganda and Kenya will be less vulnerable in future. We also report that the climate vulnerabilities of meat and dairy, chocolate (cocoa), coffee, palm oil-based food and cosmetic sectors mainly lie outside the EU borders rather than inside.
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European Union’s vulnerability to climate change stretches far beyond its borders because many of its economic sectors, such as meat and dairy, use raw materials sourced from far afield. Cross-border climate vulnerability is a relatively new subject in scientific literature, while of high societal and economic relevance. We quantify these climate vulnerabilities with a focus on drought risk and assessed them for 2030, 2050, 2085 and for RCP 2.6 and 6.0 climate scenarios. Here we find that more than 44% of the EU agricultural imports will become highly vulnerable to drought in future because of climate change. The drought severity in production locations of the agricultural imports in 2050 will increase by 35% compared to current levels of drought severity. This is particularly valid for imports that originate from Brazil, Indonesia, Vietnam, Thailand, India and Turkey. At the same time, imports from Russia, Nigeria, Peru, Ecuador, Uganda and Kenya will be less vulnerable in future. We also report that the climate vulnerabilities of meat and dairy, chocolate (cocoa), coffee, palm oil-based food and cosmetic sectors mainly lie outside the EU borders rather than inside.
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The Hungarian artist Judit Kis was one of the artists who gave a performance during Video Vortex #12 in Malta, in September 2019. This is where I was introduced to her very personal work. In the following months I engaged with her work and decided to approach her for an (email) interview. In an artistic sense, Judit Kis fits well into the ‘intermedia’ category. She produces videos (https://vimeo.com/user9166179), photo documentations (here her older Tumblr site), prints, paintings, ceramics, performances and installations consisting of blankets, lightboxes and bricks. She prints sentences on textile and engraves words into ceramic bricks (all in English). Titles of some of her video works: I have never happened, Detoxification, Dedication, Disillusion, Distance, I love you, and a confronting one: Enough.
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This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
The COVID19 pandemic highlighted the vulnerability in supply chain networks in the healthcare sector and the tremendous waste problem of disposable healthcare products, such as isolation gowns. Single-use disposable isolation gowns cause great ecological impact. Reusable gowns can potentially reduce climate impacts and improve the resilience of healthcare systems by ensuring a steady supply in times of high demand. However, scaling reusable, circular isolation gowns in healthcare organizations is not straightforward. It is impeded by economic barriers – such as servicing costs for each use – and logistic and hygiene barriers, as processes for transport, storage and safety need to be (re)designed. Healthcare professionals (e.g. purchasing managers) lack complete information about social, economic and ecological costs, the true cost of products, to make informed circular purchasing decisions. Additionally, the residual value of materials recovered from circular products is overlooked and should be factored into purchasing decisions. To facilitate the transition to circular procurement in healthcare, purchasing managers need more fine-grained, dynamic information on true costs. Our RAAK Publiek proposal (MODLI) addresses a problem that purchasing managers face – making purchasing decisions that factor in social, economic and ecological costs and future benefits from recovered materials. Building on an existing consortium that developed a reusable and recyclable isolation gown, we design and develop an open-source decision-support tool to inform circular procurement in healthcare organizations and simulate various purchasing options of non-circular and circular products, including products from circular cascades. Circular procurement is considered a key driver in the transition to a circular economy as it contributes to closing energy and material loops and minimizes negative impacts and waste throughout entire product lifecycles. MODLI aims to support circular procurement policies in healthcare organizations by providing dynamic information for circular procurement decision making.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
