Investigating Anthropogenic Existential Risks through Art

by

Andrew Leigh Christie-1 -A S A I-I- ltW E

OF TECHNOLOGY

B.ASc, Engineering Physics UL 01 2014University of British Columbia

2004LIBRARIES

SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIALFULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF SCIENCE IN ART, CULTURE AND TECHNOLOGYAT THE

MASSACHUSETTS INSTITUTE OF TECHNOLOGY

June 2014

@2014 Andrew Leigh Christie. All rights reserved.

The author hereby grants to MIT permission to reproduceand to distribute publicly paper and electronic

copies of this thesis document in whole or in partin any medium now known or hereafter created.

Signature redactedSignature of Author:Department of Architecture, Art Culture and TechnologyMAY 15, 2014

Certified by: Signature redactedRenee GreenProfessor of Art Culture and TechnologyThesis Supervisor

Accepted by: Signature redactedTakehiko NagakuraAssociate Professor of Design and ComputationChair of the Department Committee on Graduate Students

Investigating Anthropogenic Existential Risks through Art

by

Andrew Leigh Christie

B.ASc, Engineering PhysicsUniversity of British Columbia

2004

SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE ON MAY 15, 2014 IN PARTIALFULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF SCIENCE IN ART, CULTURE AND TECHNOLOGY

ABSTRACT

Through the creation of an art installation called Local Warming, and by analyzing energy-related artworks by other artists, I was able to develop a methodology in my attempt to answer the question ofwhat can be done about anthropogenic threats to humankind. Local Warming is a large array of 72collimated infrared emitting robotic heaters that provide a "bubble" of heat energy around the useras they pass through the installation. This project serves as an example of how energy-technologydevelopment can seem threatening and can also be interpreted as the exact opposite: a system thatprovides us with direct control over our own energy. This serves as a metaphor for our relationshipwith energy on a global scale. While we may feel that anthropogenic existential threats, such as globalwarming, are beyond our control, I would argue that these threats are actually opportunities toimprove our own understanding of the universe around us. Ultimately, the presence of a global riskcan act as a common-cause around which humankind can rally and thrive.

More specifically, my primary interest is provoking a conversation on how anthropogenic existential-risks can be thwarted. My methodology has five repeating stages, in no particular order: identifyingmotivations, creating physical artwork, developing or borrowing a framework, establishingprovocations, and reviewing the artwork of other artists who are creating similar work. For mymotivations I make assertions that I do not intend to prove such as "human life is important" or"extinction is an undesirable outcome." The purpose of stating my motivations is not to create anargument about the meaning of life, but to help the reader understand my artistic practice as itrelates to the topic of anthropogenic existential risks. The creation of a framework serves as a rudderto help guide the creative process. The questions that arise from the creation of this framework arethen used as provocations. These provocations need not be iron clad or consistent in their logicalmakeup, and they often conflict in a way that produces tension. Lastly, the review of works by otherartists enables me to put my own work into context.

Thesis Supervisor: Renee GreenTitle: Professor of Art Culture and Technology

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Motivation

The thought of a universe with no intelligent life can evoke everything from depressive andlonely thoughts to complete indifference. This paper seeks to explore environmental andenergy related risks to humankind. Through the analysis of select contemporary works ofart, and by borrowing critical processes from sociology, philosophy, science andengineering, these risks will be illuminated. In addition, I will attempt to use my owncreative practice to help add a layer of understanding that may not be easily expressedthrough any other means. Ultimately, I wish to answer the question: "what can be doneabout anthropogenic existential risks to humankind?" While I cannot say with any certaintythat I know the answer, this paper documents my methodology, my motivations, myprovocations and my physical project based attempt in the form of an installation calledLocal Warming.

My motivations to innovate come from a deeper desire to create positive change in theworld. While I am completely aware of the grandiose and subjective nature of this endeavor,I take it as a fundamental assumption that the proliferation and long term survival ofcreative intelligent life is a fundamentally desirable outcome for humankind. To help thereader better understand my intensions, I will define my own primary motivators asfollows:

Motivator 1- The fear of dying after a meaningless existence. Or, as an abstraction, thefear that we will forever be the only intelligent species in the universe. Should webecome extinct, there is a finite chance that no self-aware culture producing species willtake our place and that existence will cease to have meaning.

Motivator 2- An acute awareness of how fragile and insecure we are as well as thedesire to overcome these fragilities. From this we can extrapolate that as a single entity,humankind is similarly fearful of our precarious existence on our one and only world:Earth.

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CreatingPhysical Artwork: Local Warming

Local Warming is my attempt to create a immersive experience that gives the user a direct andvisceral interaction with heat energy while at the same time offering a sense of optimism and wonderin contrast to what would otherwise seems to be threatening.

On a practical level, heating systems generally waste an extraordinary amount of energy on heatingempty offices, homes, and industrial buildings. Local Warming addresses this inefficiency byharmonizing heating systems with human occupancy. An array of 72 dynamic infrared heat"spotlights" are guided by location data provided by WIFI tracking the user's mobile phone. Theeffect creates what appears to be a localized personalized climate for each user. These individual"heat bubbles" follow the users through a room, providing them with control over their own comfortwhile improving energy efficiency.

When thought of as a responsive environment, Local Warming exhibits a smart, data-driven,personalized form of climate control. The installation can act as a metaphor for how we can eitherinterpret a complex system that is driven by technological innovation as oppressive, or as anenabling system that brings us closer to understanding how energy systems work. One mightinterpret the "spotlight of heat" as an acting agent at a distance that can impose it's will upon us. Butwith the advent of a mobile phone we can invert this relationship and come to understand that thedevice itself is completely within our control. In future versions of Local Warming, we will be able toset the temperature as we please. Likewise, the WIFI tracking can be turned off as the user pleases.

The following images offer a glimpse at the process of "making." In this process, I borrowed heavilyfrom my engineering background and from my ability to fabricate and manufacture parts andassemblies. The overall design was created in a CAD package called SolidWorks. The units and arrayswere fabricated using the machine shop in the ACT and Center For Bits and Atoms machine shopsinside the MIT Media Lab. I was assisted by 25 undergraduate students over two years in the processas well as three full-time research assistants. Most of the financial support was provided by theSENSEable City Laboratory with some supplemental support from CAMIT.

The process of making helped me think of new ideas, provocations, hypocrisies, fears and questionsthat would ultimately guide me to write this paper and help me integrate through all five stages ofmy methodology: asses motivations, create physical artwork, develop a framework, establishprovocations and review the work of similar artists. These stages were not followed in any particularorder and each stage was revisited many times throughout the project.

Local Warming will be installed as part of the "Elements of Architecture" exhibit, curated by RemKoolhaas during the 2014 Venice Biennale.

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Can I beam energy at people?What is real energy?Will it make them warm?Will they feel that it is their own personal energy?Will they feel empowered?Will they feel comfortable?

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t

Can I reject visible radiation?Can I do so with a cold mirror?Can I permit only infrared to pass through?

6

Can I melt the snow?

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Can it be a spotlight of heat?Can it be a collimated beam?Can it project heat at large distances?

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Can I actually build it?Can I test it?

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How long would it take to build?I had six helpers here yesterday, why am I here in the shop all alone?

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Why does this not really look the way I wanted it to?Does it matter?What am I really trying to do?Make art?

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Is this really great?Why?Does it seem small?

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Should I try something new?Should I try something stationary?

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Should I manipulate the light?What if this will never help anyone?

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How much energy does it take to laser cut?What's the point of developing anthropogenic solutions when device productionconsumes so much energy?

If I make a new product and develop a new concept, will anyone care?Why am I still doing this?How is this second prototype anything different from an engineering project?

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Why am I dreaming of waterjet cutting?

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Why is this so bright?

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Why can't I stop thinking about arrays?

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Can manufacturing be creative?

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Why not?

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What motivates me?Why am I not satisfied when something finally works?Why do I care so much what other people think?

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How many hours have I put into this?Was it worth it?Why is it worth it?

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Why does it feel good to control a machine?

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Why does it feel good to produce?

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I

Why does it feel good to build tools?

What is so special about power?

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What is so good about automation?

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Why does everything I do use so much energy?

Why does this not look right?Should I care?How important are aesthetics for a project like this?

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Why do I care so much about energy?

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How many generations after I die to I care about?

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One-

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N,

Two?

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Infinite?

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Local Warming and Energy-Awareness

The above photos and thoughts are a representation of the process of innovation that Ideveloped while exploring the creative use of energy. The photos contain a glimpse at myraw and uncensored thought process. I am self-conscious about my childlike wonder .surrounding technology and science, but I feel that it is also central to my creative process.

For the past seven years my primary focus has been the scientific and technological analysisof the production and consumption of energy in the context of sustainability and "thegreater good." My efforts, however, were in vain. Without fail, no one really seemed to care.Energy was always an afterthought, and the environmental damage of energy productionwas always a necessary evil. As an oversimplification I asked myself, "what if we use up allthe resources in such a way that we forever doom future generations to either a mediocreexistence or extinction?"

Local Warming is my attempt to materialize and manipulate energy in an immersivemanner. Energy is a lot easier to understand and relate to when anyone and everyone isable to control it. However, today I find myself less in control of energy than ever before. Ihave little or no say on how North America chooses to produce energy, and it's nearlyimpossible to tell people how to use it. We are destroying ourselves, and there is nothing Ican do about it.

I feel alone, confused, and powerless.

Local Warming brings me comfort, warmth and hope.

If I can create a device that can beam energy to anyone, at anytime, at any distance, in such away that it is completely controlled by the user, what would that mean for society? Howwould we change the way we think about threats such as Global Warming? How would wechange the way we behave? How would we change the way we produce and consumeenergy.

I need to fundamentally understand what is going on in the grand scheme of things. I needto dig as deep as I can possibly go to understand what threatens humankind, and how thosethreats can be thwarted. The path that I have taken to this point is convoluted andconfusing, but I feel that these traits serve only to the detriment of my creative practice. Thebulk of this written work aims to shed light on my through process and how my innovationscome to fruition. The starting point of which comes from a deep frustration with thecomplexities of what could be described as a "world of threats" where inaction is the norm.You can't simply yell at people and tell them what to do in order to prevent certain disaster.It does not work. The following will shed light on anthropogenic existential risks, and myown process for understanding and hopefully thwarting these risks.

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Developing and Borrowing Frameworks

Primary Scientization - Framework idea #1While technological progress often resulted in new threats on a local level during pre-modern times, it was unlikely that a new technology posed a threat to all of humankind.Ulrich Beck describes what followed as primary scientization, otherwise known as theenlightenment of Western civilization. The development of unforeseen risks and side-effectsas a result of primary scientization results in what Beck refers to it as secondaryscientization or reflexive scientization'. We transitioned from society facing primary risks

(feudal traditionalism) to one that faces probabilistic or estimable risks that are a product of

the same forces that created the risks in the first place. As an example of this transition,Beck writes "If we were previously concerned with externally caused dangers (from thegods or nature), the historically novel quality of today's risks derives from internaldecision" 2 .

Existential Risk - Framework idea #2Qualities that have led us to produce and consume energy and materials at exponentiallyincreasing rates have historically been considered to be evidence of our collectivesuperiority, but are now in direct conflict with the possibility that we are becoming morevulnerable than ever to existential risks or, the possibility of a global terminal disasterannihilating our entire species. Nick Bolstom defines existential risk as "one where anadverse outcome would either annihilate Earth- originating intelligent life or permanentlyand drastically curtail its potential." 3 Bolstom clarifies that the reflexive version of this typeof risk is relatively new in that, for most of our existence, human kind has not been a seriousthreat to itself.

With the exception of a species-destroying comet or asteroid impact (an extremelyrare occurrence), there were probably no significant existential risks in human historyuntil the mid-twentieth century, and certainly none that it was within our power to dosomething about4.

Anthropogenic Climate Change - Framework idea #3

The most poignant and well understood anthropogenic risk is that of climate change. Wewill take it as a fundamental assumption that this risk is grave and near term and that thereader needs no convincing. The precautionary principal alone should be sufficientmotivation for swift global action to create positive changes in the way we produce andconsume energy. But in the face of overwhelming evidence that not only is anthropogenicclimate change a near term risk to our economy, health and way of life, but that there is a

1Ulrich Beck, Risk Society: Towards a New Modernity (London [u.a.]: Sage, 2007).2 Ibid.

3 Nick Bostrom, "Existential Risks: Analyzing Human Extinction Scenarios andRelated Hazards," Journal of Evolution and Technology, Vol. 9, No. 1 (2002),http://www.nickbostrom.com/existential/risks.html.4 Ibid.

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very real possibility that it's effects could annihilate our entire species. In Bolstom's words,such a disaster would be, by definition, "global" and "terminal." The failure of the KyotoProtocol and subsequent efforts to curtail C02 emissions would indicate a tragedy of the

commons on an unprecedented level. Assuming we can trust the scientific consensus, andthat we know what the likely and possible outcomes are, how can it be that we havereached such a perplexing state of paralysis? Perhaps it is the lack of a precedent that is partof the problem.

Latourian Approach - Framework idea #4

In "Love Your Monsters" Bruno Latour uses Frankenstein as the classic cautionary taleagainst the unintended consequences of technology development. Latour writes, "We usethe monster as an all-purpose modifier to denote technological crimes against nature."iMuch like Dr. Frankenstein's ghastly reaction and subsequent abandonment of his creation,we have reacted to global warming in a similar way: our collective inaction and apathyfollowing the unintended consequences of rampant resource consumption has beenhorrifying. Considering the advent of scientific consensus, global institutions, and ampleplausible solutions, why is it so hard to tame our climate change monster?

Part of the answer lies in the history of the scientific process itself. The example given byLatour is that of Robert Boyle's air pump where "Boyle carefully refrained from talkingabout vacuum pumps" and "claimed to be investigating only the weight of the air withouttaking sides in the dispute between plenists and vacuists.""i It was the object itself and theindisputable facts that emerged from experimentation with this object that made a deeperunderstanding of nature possible. Furthermore, the object lent credibility that wasindependent of the desires and dogmas that one might accuse the scientist of harboring. Thetriumph of reason over tradition allowed scientists to avoid political debate altogether andfocus on uncovering the "instrumentalized nature of the facts."li We can then take comfortthat "these facts will never be modified, whatever may happen elsewhere in theory,metaphysics, religion, politics or logic."iv Presumably, from this scientifically fortifiedposition, we can then be successful at tackling local and global problems that wouldotherwise remain unsolved. Or, at least this is how the modern narrative goes, but clearlysomething has gone wrong.

Ozone Layer - Framework idea #5Is there a suitable precedent for a global threat such as climate change? Is there a case studywhere scientific consensus led to effective globally coordinated solutions and policies? Oneexample is the successful international regulation of ozone depleting substances. While thethinning of the ozone layer is not yet solved, considerable slowing has been achievedv. Theproblem is global in scale, and in order to prevent further damage scientists had to convincepolicy makers across the majority of industrialized nations to self-impose regulations ontheir industries. The facts had to reveal the "nature" of the ozone layer as being susceptibleto human influence and that its contents could be modeled and predicted with sufficientcertainty to take action. However, Latour contends, "the ozone hole is too social and toonarrated to be truly natural."vi In other words, it was not just the scientists who enabledglobal action, the solution involved considerable interactions between scientists, policymakers and the general public. One would hope that this coordinated approach could serveas a precedent for action on a global scale when it comes to an environmental issue thatinvolves emissions. One would think that the same pattern would apply when tacklingsimilar large-scale problems. Given that today "We run robots on Mars" and "dream of

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further galaxies" how is it then that "we fear that the climate could destroy us"?vii So what isdifferent about global warming?

The Failure of Scientific Discourse Framework idea #6

How has scientific discourse failed to unite the world in the belief that anthropogenicclimate change is real and immanent? It is tempting, at first, to simply blame the science asbeing inaccessible to the general public. However, these issues are entangled in a way thatrequires a deeper and more nuanced investigation. Latour writes, "everyday in ournewspapers we read about more entanglements of all those things that were once imaginedto be separable -- science, morality, religion, law, technology, finance, and politics. But thesethings are tangled up together everywhere: in the Intergovernmental Panel on ClimateChange, in the space shuttle, and in the Fukushima nuclear power plant."viii

Latour offers us critical tools to help understand the connections between the sciences andpolitics. "We too have to take laws, power and morality into account in order to understandwhat our sciences are telling us about the chemistry of the upper atmosphere."ix However,more recently Latour has found that these critical techniques have been used to obscure thefacts; there is a danger in dismissing scientific facts as mere social constructions. "EntirePh.D. programs are still running to make sure that good American kids are learning the hardway that facts are made up, that there is no such thing as natural, unmediated, unbiasedaccess to truth, that we are always prisoners of language, that we always speak from aparticular standpoint, and so on, while dangerous extremists are using the very sameargument of social construction to destroy hard-won evidence that could save our lives."xLatour describes Global Warming as an "artificially maintained scientific controversy."xiLatour asks "what were we really after when we were so intent on showing the socialconstruction of scientific facts?"xii Latour elaborates in "Pandora's Hope" by describing thereaction of some scientists to his approach: "What I would call 'adding realism to science'was actually seen, by the scientists at this gathering, as a threat to the calling of science, as away of decreasing its stake in truth and their claims to certainty."xiii

"In my view, your work and that ofyour many colleagues, your effort to establish facts,has been taken hostage in a tired old dispute about how best to control the people. Webelieve the sciences deserve better than this kidnapping by Science. "xiv

By being skeptical of the sciences we are opening up the possibility of abuse by politicalactors who have a vested interest in the status quo to the extent that they are willing tobend or ignore the facts. Or worse, we open ourselves up to abuse by those who arescientifically illiterate.

Blind Darwinian Process - Framework idea #7

At this stage, it is tempting to think that the solution is to simply let the war play out and toallow the truthful concepts to gradually overcome the fallacies. If a certain socialconstruction is more beneficial to a given culture or civilization, then surely that idea willpropagate as the benefits of this better understanding play out through economic,technological and other benefits such as increased health. However, Latour clarifies that this

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is the wrong approach. "Why not let the 'outside world' invade the scene, break theglassware, spill the bubbling liquid, and turn the mind into a brain, into a neuronal machinesitting inside a Darwinian animal struggling for it's life."xv If ideas are either socialconstructions or facts, why not let the various understandings of reality (and the decisionsthat go with them) compete with one anther in Darwinian fashion? While this method ofdetermining the most effective system of understanding would surely work on acosmological scale, for the case of global terminal disasters, this is not a good option sincethe triumph of one social construction over another may not occur until the disaster hasalready struck! Latour concludes "a blind Darwinian process that would limit the mind'sactivity to a struggle for survival to 'fit' with a reality whose true nature would escape usforever? No, no, we can surely do better, we can surely stop the downward slide and retraceour steps, retaining both the history of humans' involved in the making of scientific factsand the sciences' involvement in the making of human history."xvi

If not the brute force of scientific consensus, or the heartless approach of a Darwiniancompetition, what technique should we then use to develop the best approach to thwartingglobal warming? What should our approach be in tackling the problem of climate change?The answer may reside somewhere in the analysis of the relationships between politics,science, and technology. While preserving the benefits and scientific advances of modernity,we must create mechanisms to monitor and analyze the social constructs that go beyondthese facts, such that we can unravel the complex mechanisms where information isbelieved and is applied to policy. We must continue to measure the changes in nature suchas the changes in global temperatures, melting of polar ice, C02 levels in the atmosphere,and then take these entities and treat them as objects and observe how they change publicopinion. By recognizing that changes in nature become dynamic and influential entities inthe global debate, we may find that a solution can be found. In combination with a carefulanalysis of the complex interactions between the sciences, politics, and technology, thisapproach may allow us to uncover potential sources of paralysis and counterproductivearguments.

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Array of Provocations

Individualism and Death - Provocation #1Armed with a Latourian "hybrid" approach, we can now return to the motivations proposedearlier and analyze some of the contributing factors that have led to the current state ofaffairs. I will propose, but not prove, a simple idea to help limit the scope of risks to beanalyzed. What can we learn about human motivation through culture? And conversely,what can we learn about collective paralysis by studying culture and art? The production ofculture is certainly correlated with survival and death5 . Can death, or fear of death, help usto understand the collective will of humankind? The modern definition of culture is simply"the arts and other manifestations of human intellectual achievement regarded collectively."They word "achievement" implies having a purpose and a sense of progress. The wordculture comes from the Latin word "cultura" meaning to "convert solar energy intonutritional energy consumable by humans"; otherwise known as agriculture. Assuming thatthe need to survive has been the most consistent historical source of motivation forhumans, we can also assume the collective motivations to prevent the deaths of our futureoffspring and the offspring of others has been a lower priority. A question that sheds somelight on this issue is "How many generations after I die do I care about?" How canmotivators 1 and 2 (above) fit in with a world that is still suffering from disease, poverty,war, and famine? And why is it important or interesting to investigate these forms ofmotivation?

Apex Predator - Provocation #2The human race has evolved, through natural selection, to have characteristics that promotethe survival of the individual their offspring. Through trial and error humans have evolvedgenetically, technologically, and culturally such that we have attained apex predator status 6.

However, many of the same traits that allowed us to flourish in the Pleistocene havenow become threats to our existence in the Anthropocene . Where we once felt justifiedand dominant in our collective ability to harness energy and materials from the earth forour growth in population and technological capabilities, we now find ourselves in a stateof constant threat from the side-effects of our own expansions.

Collective Global Response - Provocation #3On a local level, when discussing threats we think of war, disease and famine. The cultureimplications of such things manifest themselves through the collective desires and fears of ageopolitical region. It would seem silly, for example, to impress upon someone who isstarving or dying of an infectious disease in a war-torn country how important it is to think

s Marvin Harris, Cannibals and Kings: Origins of Cultures (Toronto, ON: Vintage,1991).6 "Evolution and General Intelligence: Three Hypotheses on the Evolution of GeneralIntelligence," Scientific American (October 30, 1998),https://www.csulb.edu/-kmacd/3461Q.html.7 Andrew C. Revkin, "Confronting the 'Anthropocene'," Dot Earth Blog, accessedDecember 3, 2013, http://dotearth.blogs.nytimes.com/2011/05/11/confronting-the-anthropocene/.

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about energy conservation for future generations. When we talk about culture in thecontext of human achievement we do not typically extrapolate the topic to encompass thewill of humankind. It's far easier to discuss the role of the individual, the inclinations oftribes or nations, the fanaticism of religious leaders, the creativity of artists and the legacyof writers. It is for this reason that I will aim to shed light on the collective intensions andmotivations, in contrast to individualist motivations. This paper will largely ignore thewants and needs of specific individuals and focus on the larger psychological and existentialneeds of our collective hive-mind. This is not to say that the needs of the individual are notimportant, or even less important than the collective needs of future generations. I will treathumankind as a long-lived single entity with pluralistic tendencies: a ferocious appetite forinnovation, a need to explore, a desire to find companionship and a deeply engrained fear ofextinction. Humankind is at the mercy of behavioral patterns developed over thousands ofyears of evolution. Much like a hormone-poisoned teenager, this single entitysimultaneously battles with nihilism, narcissism, and self-destruction. Until recently,humankind had a poor sense of the limits of our own growth.

Gaia Theory and Spaceship Earth - Provocation #4Treating the human race as a single entity with a single lifespan is similar to how the Earthhas been described as a single living entity by James Lovelock:

Living matter, the air, the oceans, the land surface were parts of a giant system whichwas able to control temperature, the composition of the air and sea, the pH of the soiland so on so as to be optimum for survival of the biosphere. The system seemed toexhibit the behavior of a single organism, even a living creature8.

In contrast to this biological conception, Buckminster Fuller describes our planet asSpaceship Earth:

One of the interesting things to me about our spaceship is that it is a mechanicalvehicle, just as is an automobile. Ifyou own an automobile, you realize that you mustput oil and gas into it, andyou must put water in the radiator and take care of the caras a whole.

Regardless of ones metaphor or analogy, there is some value in thinking of our existence onearth from a holistic perspective. It enables us to consider long-range threats on time scalesmuch larger than our own lifespans. If we assume that there is substantial value in ensuringa high quality of life for our children, grandchildren and every generation that follows, thenthese metaphors serve as a practical guide when examining the question: what does it meanto survive?

Fermi's Paradox - Provocation #5Should we fear that we are alone? And what is so special about Earth? Fermi's Paradox isthe apparent contradiction between the large predicted number of inhabitable planets thatare older than our own and the fact that we have not been contacted by extraterrestrial life.A careful combination of biodiversity, atmosphere, water, and abundant life-enabling

8 James Lovelock, "New Scientist," February 6, 1975.9 R. Buckminster, Snyder, Jaime Fuller, Operating Manualfor Spaceship Earth(Baden, Switzerland: Lars Mller Publishers, 2008).

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elements like carbon made it possible for the emergence of human life. The Earth itselfcame into existence 4.54 Billion years ago, and life "shortly" thereafter at around 3.8 billionyears ago. The Solar Nebula Hypothesis suggests that Earth formed from what was then avery spread out form of our modern day sun. As heavier metals clumped together the innerplanets of our solar system formed. Thus, in a sense, both the matter and energy required tocreate Earth as we know it came from humankind's unrivaled source of energy: the sun.Above all else, the human race is dependent on abundant energy to exist. And perhaps mostimportantly, as Michael Perryman explains, "planetformation appears to be a natural by-product of the very process of starformation, which is ubiquitous and ongoing throughout theUniverse.10 "

With this energy has come a sense of collective ownership. The sun is "our star" and ourplenitude, scientific progress, technology, culture, and art are all a result of this stellar gift. Itbelongs to us all, and yet the distribution of energy throughout different regions of theworld and different socio-economic groups is tremendously unequal. Furthermore, it'sdifficult to grasp this sense of energy ownership in a world where we are so disconnectedfrom the intricate systems upon which we depend for our current quality of life. When onesets foot into a building one does not become aware of who "owns" the heat energy they areborrowing. We simply warm or cool our bodies as a result of the temperature that iscontrolled by the buildings various energy systems. Not only do we not have any awarenessof how much of this energy we are individually responsible for, it's rare that we ever reallyknow where the energy comes from. The lengthy chain of machines, technology andtransductions that take place to make it possible for us to live the way we do is largelyignored by all but the occasional engineer, scientist or building manager. The food supplychain is similar and the fuel we use for our vehicles is only slightly better understood. Thetrend, however, is clear: when we take responsibility for our own energy, much like onedoes in an apartment where the bill is paid by the same person who controls thethermostat, we become much more aware. This is accomplished primarily through the priceof energy.

I intend to show that the problem is a fundamental disconnect between culture and energy.This problem exists as a barrier to our collective understanding of what it means toprogress. In relation to our survival as a species, this disconnect has done a tremendousdisservice to our grandchildren and great-grandchildren and every generation that follows.

What is Progress? - Provocation #6Why should we seek to make changes at all? What is the advantage of gaining a deeperunderstanding of our personal relationships to energy? If we look at the history of thesekinds of questions, we are quickly led down a path that reeks of hegemonic powers,paternalism, westernization, and techno-optimism. To even begin to discuss art in terms ofhaving an agenda, we first either have to conceal our true intentions in a barrage of esotericpsychobabble, or through deliberate deception. Or we have to show our hand and revealour true intentions, thus leaving ourselves vulnerable to scathing criticism. Staying true tomy scientific erudition, I have chosen the latter. And thus, we will first discuss progress.

10 Michael Perryman, "The Origin of the Solar System," arXiv:1111.1286 (November5, 2011), http://arxiv.org/abs/1111.1286.

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Historically, the idea of progress is a set of theories that explain quality of life can beimproved through advances in science, technology and economic development1 1 . Buthappiness is hard to measure and progress is often discussed in terms of expansion andeconomic growth. Measurable indicators such as gross domestic product, and income per-capita were developed. However, inequities in wealth led to the happiness of the few andthe misery of the masses. In the late 20th century, a new approach was adopted whichcombined life expectancy, education, and standard of living (GNI per capita) 12. With thisnew system, it was thought that we could be confidant in our goals and proceed unfettered.But once again, a flaw was discovered. In a world of finite resources on a single planet, howcould we continue to progress indefinitely? In a world where our planet's resources arecompletely decimated, the "idea of progress" ceases to have meaning. What good is it togrow when our planet is a wasteland and our chances of survival as a species are near-zero?Fortunately some of these problems have been addressed by the Millennium DevelopmentGoals where goal 7 is "ensuring environmental sustainability"13.

Jevon's Paradox - Provocation #7Increasing the efficiency with which a resource is used, through technological progress,tends to increase the rate of consumption of that resource. This phenomenon has come tobe known as "Jevon's Paradox"14 . It is used as an argument for why technology and scienceare ill-equipped to help us deal with existential threats that come from humankind'stendency to over-consume. Many believe that humans are like locusts plaguing ourbiosphere or like a cancer that has infected the Earth and has to be irradiated. Some wouldsuggest that we are not the solution, but the fundamental source of the problem. We facemany existential threats such as global warming, peak oil, decreasing planetary biodiversity,and our inability to accurately detect and thwart the impact of a large asteroid. Thesechallenges can be sources of inspiration rather than pessimism. In the face of existentialthreats, the world can unite and thrive. In the face of existential threats, can art and culturefacilitate an intuitive and intertwined understanding of our energy systems?

Exponential Growth - Provocation #8The unprecedented population and economic growth that humankind experienced, fromthe enlightenment to present, is exponential in nature. A great deal of investment has goneinto what many refer to as "sustainable growth." The fundamental idea is that if we learnhow to harness technology and curtain the harmful effects of growth that we can continueto expand as we have. That said, our planet has finite resources and basic logic would leadone to the conclusion that such an expansion cannot last forever. Dr. Albert Bartletdescribes the exponential nature of growth when he says, "Sustainable growth is anoxymoron." The proposed alternative is commonly referred to as "resilience." The principalidea is that humans should reduce our impact on the planet by reducing our population. The

11 Robert A. Nisbet, History of the Idea of Progress (New Brunswick, NJ: TransactionPublishers, 1980).12 Jeni Klugman, "The Real Wealth of Nations: Pathways to Human Development"(Palgrave Macmillan, 2010).13 "United Nations Millennium Development Goals," accessed May 11, 2013,http://www.un.org/millenniumgoals/environ.shtml.14William Jevons, Coal Question, 3 Reprint (Cambridge, England: Augustus M KelleyPubs, 1906).

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ethical implications of actively killing humans or allowing them to perish when they couldotherwise be saved are overwhelming. The more-ethical alternative is to slowly allow thepopulation to decrease by enforcing lower global birthrates. World population growthpeaked sometime in the 1960s. Furthermore predictions show a peak population between 8and 12 billion will be reached sometime within the next 100 years15.

Malthusian catastrophe - Provocation #9One predicted consequence of overpopulation and un-checked consumption of resources isreferred to as a Malthusian catastrophe 16 . Much like bacteria in a petri dish, the shape of thepopulation curve over time might grow exponentially until a resource limit (such as food) isreached at which point a sharp decline in population results.

A New Definition of Progress - Provocation #10Does a halt in population growth imply the end of economic progress? Not necessarily.Holding the long-term survival of the human species as a fundamentally important axiom,one can imagine a world that continues to "grow" scientifically, culturally, and in terms ofplanetary biodiversity.

A greater sense of the long-term view is now emerging. We are discovering that the rate atwhich we are able to create and destroy things is rapidly increasing. We are experiencingregular shifts in optimism and pessimism. Much like a global hangover after a night of bingedrinking, we are learning to cope with our newfound sense of power.

"I think most people would agree that a future where we are a spacefaring civilizationis inspiring and exciting compared to one where we areforever confined to earth untilsome eventual extinction event" -Elon Musk

Intelligent Life is Important - Provocation #11What is so special about humans? Is our DNA in control? And if we are going to mutate as aspecies, and we know this for certain, why try to preserve our genetic and cultural whole?We have a certain genetic inertia and cultural inertia that we take for granted. It may be thatwhat we are truly protecting is the long-term survival of intelligent life in general. We aresimply unaware of any other species that is able to contemplate and perhaps thwart its ownextinction. One could argue that we have a responsibility not to waste what may turn out tobe a unique opportunity.

Earth Vs. Humans - Provocation #12Deep ecologists (or "Dark Green" environmentalists) adhere to the fundamental idea thatour Earth will likely recover long after we become extinct. As a system of values, this form ofthinking places biodiversity at the helm. Much like Gaia theory, the earth is treated like anintelligent and living creature as a massive interconnected super species. Much like thetrillions of cells within the human body, the Gaian Earth is composed of its diverse species.

15 Wolfgang Lutz, Warren C. Sanderson, and Sergei Serbov, The End of WorldPopulation Growth in the 21st Century: New Challengesfor Human Capital Formationand Sustainable Development (Earthscan, 2004).16 Thomas Robert Malthus, An Essay on the Principle of Population: Or, A View of ItsPast and Present Effects on Human Happiness (London, England: Printed for J.Johnson, by T. Bensley, 1807).

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Is humankind unimportant in comparison to the Earth? It's far more productive to think ofthem as equals; regardless of intrinsic value, it can be said that a planet with strongbiodiversity is more likely to ensure a longer-term survival of humankind. Our futures areinextricably linked, thus we are better off treating biodiversity as equally important as anyother human endeavor. I consider the promotion of biodiversity as a fundamentalcomponent of human progress.

Protest Art - Provocation #13While the topic of human extinction is a big topic and provokes grandiose fantasies of spacecolonies, cures for cancer, and sustainable utopic societies, more often than not it simplygenerates "protest art." Whenever a new fad threat suddenly gains in popularity in themedia, art trends will surely follow. There is a long history of magazines such as AdBusters.These works generally focus on normative topics. Protest artists urge that things "ought tobe" a certain way, and that the status quo is "evil" or "unsustainable." Threats such as peakoil and global warming are warned about in films such as "An Inconvenient Truth" (by AlGore). As a scare tactic, this approach can motivate millions and can often create realchange. However, I will argue that it does very little to foster an intimate connectionbetween energy and culture.

Responsibility of the Artist - Provocation #14One might argue that artists should be free to create whatever they want. Why does arthave to have a purpose? Scientists have a responsibility to unravel the truth about ouruniverse, and civil engineers are sworn to never design and build structures that aredangerous. What is different about artists?

Kardashev Scale - Provocation #15The Kardashev scale is a framework for describing the amount of energy a given civilizationis able to harness. The scale is composed of three levels: Type I, II and III. Type I civilizationshave successfully harnessed all of the energy available to their home planet. If they are ableto harness the total energy of their local star they are considered Type II. And once able toutilize the sum of all energy in their galaxy a civilization would be considered Type 11117. Wewill use K1, K2, and K3 for short.

Dyson Spheres: Interstellar and Intergalactic Energy Collection - Provocation #16To become a K2 or K3 civilization a very large number or collection of energy harvestingdevices would have to be deployed. As radiation is emitted from stars in roughly sphericalpatterns with sub-fusion temperatures occurring at a relatively large radial distance fromthe center of the star, these systems would have to be immense. A solution was proposed bya physicist named Dr. Freeman Dyson 8 . A Dyson Sphere is a large energy collectionmechanism that can be composed of a very large number of satellites or rings thatultimately absorb every useful quanta of energy emitted from the local star.

17 Nikolai S. Kardashev, "On the Inevitability and the Possible Structures ofSupercivilizations," in The Search for Extraterrestrial Life: Recent Developments, ed.Michael D. Papagiannis, International Astronomical Union 112 (SpringerNetherlands, 1985), 497-504, http://ink.springer.com/chapter/10.1007/978-94-009-5462-5_65.18 Freeman Dyson, Selected Papers of Freeman Dyson: With Commentary (USA:American Mathematical Soc., 1996), 555.

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Example of Dyson Sphere artwork.19

Keep Quiet - Provocation #17One proposed solution to Fermi's Paradox is the possibility that all successful and advancedextraterrestrial civilizations have learned to keep quiet for their own self-preservation.It's possible that all advanced extra-terrestrial civilizations are self-selecting to be "silent" tothus hide their existence from other potential competitors. In such a scenario, it may be thatthe only civilizations to survive might be the ones who have gone undetected by otherpredatory species or Von Neuman Probes 20.If this were true, surely some of them wouldadvance to become a K2 or K3 type civilization.

This leads us to why Dyson Spheres are important to unraveling the great mystery. Theirhypothetical existence is a potential solution to Fermi's Paradox. It's nearly certain that aDyson Sphere would emit large amounts of infrared radiation, to such an extent that itssignature could be easily detected should our infrared-sensitive telescopes focus on thatparticular star or galaxy that is enclosed by such a superstructure. The energy collectionsystem would absorb and reradiate the waste energy as heat (infrared). The findings, so far,have come up empty handed and it's certainly possible that no such structures existanywhere in our universe. Thus, if we are to believe the hypothesis that ancient andadvanced K2 and K3 civilizations have remained quiet, we should be able to detect theinfrared signature of their Dyson spheres. This lends credibility to the idea that the greatestthreat to advanced life forms is resource depletion. It could turn out that every species that

19 Adam Burn, SHield World Construction, digital, February 26, 2009,http://adamburn.daportfolio.com/gallery/124232#10.20 Robert A. Freitas Jr., "A Self-Reproducing Interstellar Probe," A Self-ReproducingInterstellar Probe, 1980, http://www.rfreitas.com/Astro/ReprojBlSjuly1980.htm.

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has ever existed has encountered a Malthusian type of fate. Or it could be that we areunique in that we are the only species that can contemplate our own existence. We may bealone in our ability to thwart our own extinction.

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A Different Approach - Artists Making Similar Work

Despite the advent of advanced technology and a deeper scientific understanding of ouruniverse, the body of artistic research surrounding energy issues is relatively undeveloped.The following are examples of works of art and in some cases design projects that, tovarying degrees of success, provoke discussion and thought about energy and existentialthreats to humankind. These works can materialize energy and environmental issues suchthat they transmute into ingrained patterns within our collective consciousness.

Theo Jansen's "Strandbeest" series of sculptures are wind powered walking machines.Jansen has iterated upon their design over several decades. Treated by the artist as lifeforms, the goal is to have them evolve to the point where they can survive on the beachwithout human intervention. One way to interpret Jansen's work is to question what itmeans for an artificial life form to exist with wind as its sole source of energy. His works arepoetic, and incorporate a relatively rudimentary selection of technologies. His creations areessentially autonomous robots with no electronic controls or computer programminginvolved. His stated goal of creating artificial life forms contrasts with the relatively organicforms he creates in such a way that one is forced to question: does the creation of new lifenecessitate technological progress as we know it in the 21st century? Strandbeest fails atartificial intelligence, but succeeds at inspiring awe regardless of ones comfort level withadvanced technology. If his material choices were similar to those of a military attack drone,it's unlikely that the impact would be as disarming. After several hours of operation,Jansen's Strandbeests are unable to continue functioning and require human-interventionto re-animate.

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Theo Jansen's Strandbeest (Photo by Jeff Lee Petry) 21.

Automated fabrication and the direct utilization of solar energy come together in MarkusKayser's Solar Sinter project. Much like a Von Neumann machine, the sintering device cantake raw, and virtually inexhaustible materials, and directly convert them into usefulobjects by harnessing solar radiation directly. No conversion of energy to electricity is usedin the sintering process other than the negligible power required for the control electronics.Much like Jansen, Kayser successfully portrays both the process and form through poeticand stylized video footage. He disarms the viewer by creating a stark contrast between theminimalist natural environment, in this case an Egyptian desert, and the alternative energyrobot aesthetics of the solar sintering machine. The work of art is an amalgamation betweenthe tool, the art-object, and the process. In this case the art-objects are the bowls andarchitectural forms created through the solar sintering process. Had Kayser chosen tocreate objects from sand by harnessing the power of oil or coal the meaning would be lost.Likewise, had he sintered aluminum with solar power, the concept would fall flat. It is theincomprehensible abundance of both solar energy and sand that forces the viewer toconsider a future that we might have otherwise discounted in the face of paralyzingresource pessimism. Kayser's approach differs with that of Jansens' in his use high-tech

21 Theo Jansen, Strandbeest, Plastic, fabric, 2012, http://eatart.org/wp-content/uploads/2013/04/eatart-mag-tim-v9-3.jpg.

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materials and components. While Solar Sinter is more successful as a tool than Jansen'sStrandbeest, some meaning is lost due to the aesthetics of the machine overshadowing thepoetic narrative.

Photo of Markus Kayser's Solar Sinter Project 22

22 Markus Kayser, Solar Sinter, 2011,http://www.markuskayser.com/files/gimgs/22_solarsiterO 1 10.jpg.

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An artistic artifact produced by Markus Kayser's Solar Sinter 23.

Hehe is a collaboration between Helen Evans and Heiko Hansen that behaves as a researchorganization. Their aim is to address "people's undesired needs: health, security,communication, energy and the environment" 24 . Their use of ecological visualizationsshows how a largely-ignored and environmentally hazardous every-day occurrence can behighlighted through public forms. In "Nuage Vert" (figure 6 below), the outline of anemissions cloud from a coal power plant is highlighted with a powerful green laser. Inaddition to being a powerful symbol, the project was also a social process. Hehe engaged theowners of the power-plant, as well as their customers. By gaining access to real-time userdata, the size of the laser image on the cloud could be enlarged or contracted based on theamount of energy being used at any given time. When the local residents decreased theirpower consumption, the green visualization would grow larger as if power was beingdiverted to its projection. The artists were deliberately ambiguous as to where blameshould be placed for the creation of the green house gasses and pollutants. Rather thanpreach, they allowed the material and aesthetic dimensions of the work to encourage adiscourse on the subject of energy.

23 Ibid.24 Hehe, "About Hehe," 2013, http://hehe.org.free.fr/hehe/contact/.

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Nuage Vert by Hehe - an ecological visualization 25 .

Another example of the materialization of energy awareness is Mary Mattingly's "FlockHouse Project." Flock Houses are a group of ecologically-aware transient and publicdwellings. Their deployment was choreographed throughout New York City in "three planesof living (subterranean, ground, and sky)". The process of their creation was collaborativeand community oriented. By combining reused materials and industrial atrophy, Mattinglyaims to promote the adoption of natural systems and renewable energy technologies. Thepresence of Flock Houses provokes discussion about current human displacement andcatastrophe. By organizing workshops and interactive events, Mattingly's work enhancescommunity-resourcefulness and learning while inspiring curiosity and creative exploration.The tensions between progressive city-dwelling environmentalists and the seeminglyinsatiable urban demand for energy and resources are highlighted through Mattingly'swork. Rather than framing the discussion around negativity and protest, the installationsare effective at highlighting the positive aspects of community resilience throughamalgamation of ingenuity, technology and natural systems. The narrative surroundingthese sustainable and natural systems are largely fictional. However, they successfully act ascaravans of hope in the ecological journey that would otherwise seem to have anunavoidable and disastrous ending.

25 Hehe, Nuage Vert - Ivry 2010, Industrial environment, laser light, 2010,http://hehe.org.free.fr/hehe/NV10/index.html.

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Mary Mattignly's Flock House Project 2 6.

Anna Gartforth is able to transform the aesthetics of nature into forms that force usto consider the context of their existence. "Wandering Territory" contrasts theindustrial imagery mirrored on the exterior of the polar bear with the curiousanimal's natural habitat. It successfully draws attention to the industrial perversionof natural environments and evokes a sense of technological loneliness. Gartforth'swork is accessible and disarming in that it employs craft with common materials.Unlike the works of Kayser and Hehe, there is no implied hypocrisy since Gartforthsuccessfully avoids energy intensive materials that one might associate with high-tech components.

26 Mary Mattingly, Flock House, Metal, fabric, plants, 2012,http://www.marymattingly.com/Default.html.

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Anna Garforth's "Wandering Territory"27 .

As a direct approach to energy driven processes, Kitty Kraus created a time-based sculpturecomposed of a incandescent light bulb surrounded by ink and embedded in ice. When thebulb was turned on, the ice was allowed to melt and thus an ink stain would remain on thegallery floor at steady state. The 2006 piece, "Untitled" serves as a minimalistic embodimentof what we fear about the future; After the lights go out and the ice has melted, ourdiminished view might be dominated by a large black stain. Kraus' presumably deliberateuse of ambiguity is also why her work fails to provoke real change. It is easy to interpret thiswork as nothing more than an autonomous painting device.

27 Garforth, Wandering Territory, 2013,http://www.annagarforth.co.uk/work/wanderingterritory.html.

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"Untitled" by Kitty Kraus 2 8.

ConclusionExisting works of art do exist in the region that lies between art and energy. However, itremains unclear what the broader impacts of these works are. How can we measureimpact? Is it problematic to investigate art through measureable impacts? What are theconsequences of developing clear goals in the pursuit of artistic research? I intend to treatthis body of work as an exploratory and creative endeavor, while strongly adhering toscientific principals. My methodology is grounded in the belief that art can help answerdifficult questions about anthropogenic existential risks such as Global Warming. My aimwith this methodology is to travel to the fertile and relatively unexplored valley that liesbetween mountains of fears, predictions of the future and the mistakes of my predecessors.

I aspire to have my own projects, Local Warming in particular, to serve as a creative toolthat helps bring a sense of awareness about how we interact with energy relatedtechnologies that I hope will be part of the solution to our long term anthropogenicexistential risks.

28 Kitty Kraus, Untitled, lamp, ice, ink, plexiglas, 2006,http://www.galerieneu.net/artists/show/id/8.

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Credits

Readers:John May, Assistant Professor of Architecture , MITKate Armstrong, Director, Sim Centre, Emily Carr University

Supporters:Kara Henderson, My infinitely supportive and patient partner in lifePaul and Louise Christie, My parents

MIT Senseable City LabLab Leadership:Carlo Ratti - directorAssaf Biderman - associate directorYaniv Jacob Turgeman - research leadRex Britter - environmental advisor

Local Warming Project Team:Miriam Roure - project leadMatthew Claudel - curatorCarlos Graeves - electrical engineerSaverio Panata - architectMatthias Danzmayr - software leadJacob Fenwick - hacker/coderShan He - VisualizationsPierrick Thebault - Visualizations

Fabrication, assembly and design assistance:Ricardo Alvarez, Thomas Altmann, Dorothy Bassett, Clara Cibrario Assereto, DavidDowling, Feifei Feng, Sebastian Grauwin, Chris Green, Elyud Ismail, Sam Judd, AaronNevin, Jessica Marcus, Oleguer Sagarra Pascual, Kristopher Swick, Michael Szell,Remi Tachet des Combes, Gean "Computer Builder"

MIT Computer Science and Artificial Intelligence LabDina Katabi - directorDeepak Vasisht - motion tracking designerJue Wang - motion tracking designer

MIT UROPsThomas A Altmann, Elyud Ismail, Alan E Casallas, Brian Alvarez, Antonio N Rivera,Aurimas Bukauskas, Bradley Eckert, Chennah P Heroor, Chris Cook, Dana Gretton,Jamie L Voros, Jorrie M Brettin, Mike Klinker, John Mofor, Mosa Issachar, NikolasAlbarran, Oleksandr Chaykovskyy, Sam Judd, Alexander, Alexander D Campillanos,Gracie Fang, Kristopher Swick, Jacob Tims, Damien W Martin.

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