Periodic Reporting for period 2 - CLAMOR (environmental Conflicts through the Lens of Artwork and Multimedia in waterscape transfORrmations)
Okres sprawozdawczy: 2020-09-22 do 2021-09-21
CLAMOR analysed creative expressions towards transformative or restorative initiatives in ecological distribution conflicts (EDC). The project participants, led by the research fellow, conducted empirical research on the gendered use in EDC of artistic creations (films, plastic arts and songs) and connected multimedia at two levels: a) case studies drawing on activist knowledge of EDC over wetlands and over coal (both water-related) under diverse contexts in Colombia and California; and b) databases on artworks and social media from EDC in which environmental transformation occurs under violent conditions (Colombia, Philippines). The research and training combined in-depth case studies, ideal for developing causal explanations, with data-intensive social science research methods, which provide grounds for generalisation The fellowship sought to establish the researcher as an expert in environmental conflicts, working at the University of California, Berkeley (UC Berkeley, US), and the Autonomous University of Barcelona (UAB, ES).
Management (WP1). The work plan and in the researcher’s PCDP were completed overall, with notable achievements in dissemination through high-ranked academic journals, and exploitation. By the end of the action, the researcher had secured post-MSCA funding.
Training (all WPs). UC Berkeley and UAB provided a rich learning environments in different areas of needed development: 1) Research Management; 2) Qualitative research; 3) Data-intensive research (including a second master degree by the fellow, in Geographic Information Systems); 4) Arts & Science communication; 5) IPR & ethics, and 6) Topic-related training.
Research (WP2-WP4). The preparation of the analytical framework, research design, data collection, and theory synthesis progressed satisfactorily. The research design activities (WP2) followed two major lines of work: 1) a comprehensive analysis of peer-reviewed scientific literature on gender and environmental artistic activism; 2) research protocols for addressing the different case studies of the project, and for compiling a database on art and environmental conflict. Data collection and organising (WP3) and analysis (WP4) took place in case studies in California (US) and the Caribbean Region (Colombia). Graduate students under the supervision of the fellow added new case studies in Chile and Catalonia. The CLAMOR project website provides details about the progress and the publications in each case study.
Networking / Dissemination, communication, exploitation (WP5). Scientific dissemination includes a website with a dynamic interview-based blog, peer-reviewed articles, and academic presentations (e.g. in conferences, seminars, colloquia, and university lectures). Research progress and findings were presented to specialised conferences, such DOPE 2010, POLLEN 2020, ISEE-ESEE-DEGROWTH 2021 and AAG 2022. Ahead of the work plan of the project, six articles are already published in top-ranked scientific journals such as “Global environmental Change”, “Geoforum”, “Conservation Letters” and “Ecological Economics”. More papers are under preparation. Other results in include 2 PhD thesis (1 ongoing), 2 completed master dissertations, 23 academic presentations, and the organization of 3 panels in international conferences. Among the exploitation activities, the fellow applied to three major post-MSCA funding schemes. At the moment of reporting, the researcher had received favourable evaluation of two of them, while the result of the third one was not published yet. The acceptance of one of a post-MSCA grant led the fellow had to terminate the MSCA fellowship 1.5 months before the original end date.
Training (all WPs). UC Berkeley and UAB provided a rich learning environments in different areas of needed development: 1) Research Management; 2) Qualitative research; 3) Data-intensive research (including a second master degree by the fellow, in Geographic Information Systems); 4) Arts & Science communication; 5) IPR & ethics, and 6) Topic-related training.
Research (WP2-WP4). The preparation of the analytical framework, research design, data collection, and theory synthesis progressed satisfactorily. The research design activities (WP2) followed two major lines of work: 1) a comprehensive analysis of peer-reviewed scientific literature on gender and environmental artistic activism; 2) research protocols for addressing the different case studies of the project, and for compiling a database on art and environmental conflict. Data collection and organising (WP3) and analysis (WP4) took place in case studies in California (US) and the Caribbean Region (Colombia). Graduate students under the supervision of the fellow added new case studies in Chile and Catalonia. The CLAMOR project website provides details about the progress and the publications in each case study.
Networking / Dissemination, communication, exploitation (WP5). Scientific dissemination includes a website with a dynamic interview-based blog, peer-reviewed articles, and academic presentations (e.g. in conferences, seminars, colloquia, and university lectures). Research progress and findings were presented to specialised conferences, such DOPE 2010, POLLEN 2020, ISEE-ESEE-DEGROWTH 2021 and AAG 2022. Ahead of the work plan of the project, six articles are already published in top-ranked scientific journals such as “Global environmental Change”, “Geoforum”, “Conservation Letters” and “Ecological Economics”. More papers are under preparation. Other results in include 2 PhD thesis (1 ongoing), 2 completed master dissertations, 23 academic presentations, and the organization of 3 panels in international conferences. Among the exploitation activities, the fellow applied to three major post-MSCA funding schemes. At the moment of reporting, the researcher had received favourable evaluation of two of them, while the result of the third one was not published yet. The acceptance of one of a post-MSCA grant led the fellow had to terminate the MSCA fellowship 1.5 months before the original end date.
Progress beyond the state of the art
Methodologically, a fundamental advance was the consideration of artworks as units of analysis in EDC. The project has tested a network approach in the analysis of intertwined art purposes, art types, users, and approaches to socio-environmental transformation.
Conceptually, CLAMOR helped to elaborated or created concepts in connection with such transformations. They include, for instance, the concepts of cognitive dissonance of hybrid art-science initiatives; gendered creative activism, the relationality of art for socio-environmental transformation, the materiality of (socio-environmental) art, artistic representations of local values and life histories, and relational art-making in environmentally degraded areas.
Theoretically, CLAMOR unveiled the multiple ways in which artivims triggers socio-environmental transformation. Regarding knowledge, artivism is a window to situated knowledge, contributes to knowledge dissemination and visibility, and it leads to knowledge integration. Regarding political and social behaviours, artivists are essential in envisioning change, disclosing power relations and voicing the unheard. Also, artivism is superior to other forms of activism in (re)connecting agencies, and it has proved to be effective in supporting people’s reacting and claims of environmental transformation. Regarding material change, CLAMOR has contributed to highlight the materiality of environmental art, and to show its role promoting bot direct vs indirect material changes.
During the outgoing phase of the fellow identified six avenues of gendered environmental ‘artivism’. A gendered lens on artistic activism made visible the power of different groups to act, their scopes of creative action, and their thematic foci. The presence of of younger demographics is significant, including children and students in environmental artivism. Further, the case studies provided empirical evidence to understand the value of creative expressions in environmental conflicts. Main foci of the analysis were the relevance of creative activism for education, social cohesion, participation, knowledge sharing and knowledge bridging, making issues of neglection and corruption visible, collective memory, and expanding networks of affection.
By the end of the fellowship, a data-intensive analysis unveiled three major topics in the study of environmental artivism. 1) The education of audiences through performative expressions of today’s global environmental crises, especially climate change. 2) Ecocritical reflections of environmental controversies and conflicts towards creative emancipatory practices. 3) Art practice as an avenue for environmental improvement across different sectors (e.g. water, mining, urban).
Career prospects of the researcher.
The MSC fellowship placed the researcher at the frontier of European excellence in her research field. The outcomes listed above further strengthen her track record as an excellent researcher. The quality of her scientific contributions is evidenced through publications as a first authors in top scientific journals, organisation of scientific conference panels, and invited lectures. Her international mobility now includes the unique experience of working at the University of California, Berkeley, a global leading research institution in the field of natural resource management. The researcher believes that having held a MSC fellowship has been fundamental in her current incorporation into the Catalan system of science and technology. The fellowship was also key in the preparation of a solid proposal for a major research grant supporting high-risk frontier research.
Methodologically, a fundamental advance was the consideration of artworks as units of analysis in EDC. The project has tested a network approach in the analysis of intertwined art purposes, art types, users, and approaches to socio-environmental transformation.
Conceptually, CLAMOR helped to elaborated or created concepts in connection with such transformations. They include, for instance, the concepts of cognitive dissonance of hybrid art-science initiatives; gendered creative activism, the relationality of art for socio-environmental transformation, the materiality of (socio-environmental) art, artistic representations of local values and life histories, and relational art-making in environmentally degraded areas.
Theoretically, CLAMOR unveiled the multiple ways in which artivims triggers socio-environmental transformation. Regarding knowledge, artivism is a window to situated knowledge, contributes to knowledge dissemination and visibility, and it leads to knowledge integration. Regarding political and social behaviours, artivists are essential in envisioning change, disclosing power relations and voicing the unheard. Also, artivism is superior to other forms of activism in (re)connecting agencies, and it has proved to be effective in supporting people’s reacting and claims of environmental transformation. Regarding material change, CLAMOR has contributed to highlight the materiality of environmental art, and to show its role promoting bot direct vs indirect material changes.
During the outgoing phase of the fellow identified six avenues of gendered environmental ‘artivism’. A gendered lens on artistic activism made visible the power of different groups to act, their scopes of creative action, and their thematic foci. The presence of of younger demographics is significant, including children and students in environmental artivism. Further, the case studies provided empirical evidence to understand the value of creative expressions in environmental conflicts. Main foci of the analysis were the relevance of creative activism for education, social cohesion, participation, knowledge sharing and knowledge bridging, making issues of neglection and corruption visible, collective memory, and expanding networks of affection.
By the end of the fellowship, a data-intensive analysis unveiled three major topics in the study of environmental artivism. 1) The education of audiences through performative expressions of today’s global environmental crises, especially climate change. 2) Ecocritical reflections of environmental controversies and conflicts towards creative emancipatory practices. 3) Art practice as an avenue for environmental improvement across different sectors (e.g. water, mining, urban).
Career prospects of the researcher.
The MSC fellowship placed the researcher at the frontier of European excellence in her research field. The outcomes listed above further strengthen her track record as an excellent researcher. The quality of her scientific contributions is evidenced through publications as a first authors in top scientific journals, organisation of scientific conference panels, and invited lectures. Her international mobility now includes the unique experience of working at the University of California, Berkeley, a global leading research institution in the field of natural resource management. The researcher believes that having held a MSC fellowship has been fundamental in her current incorporation into the Catalan system of science and technology. The fellowship was also key in the preparation of a solid proposal for a major research grant supporting high-risk frontier research.