Editor’s Note: This is a press release regarding the wildlife photographer of the year selected by Natural History Museum, London. Nature photography, in the correct context, can be an efficient tool for conservation efforts. It not only helps to know about any given piece of land, but also is a powerful tool to raise mass awareness regarding conservation and endangered species. In a world where most humans live their lives, to a large extent, disconnected from the natural world, nature photography can help remind people of the natural world and to inspire a sense of respect for her.
French underwater photographer and marine biologist Laurent Ballesta was awarded for Wildlife Photographer of the Year 2023 for ‘The golden horseshoe’, an otherworldly image of a tri-spine horseshoe crab accompanied by a trio of golden trevallies.
The tri-spine horseshoe crab has survived for more than 100 million years but now faces habitat destruction and overfishing for food and for its blue blood, used in the development of vaccines. But, in the protected waters of Pangatalan Island in the Philippines, there is hope for its survival.
Chair of the jury and editor, Kathy Moran says, ‘To see a horseshoe crab so vibrantly alive in its natural habitat, in such a hauntingly beautiful way, was astonishing. We are looking at an ancient species, highly endangered, and also critical to human health. This photo is luminescent.’
Laurent is only the second photographer in the competition’s fifty-nine-year history to be awarded the Grand Title award twice. He was first awarded Wildlife Photographer of the Year in 2021 for his intriguing image of camouflage groupers exiting a milky cloud of eggs and sperm in Fakarava, French Polynesia.
Seventeen-year-old Carmel Bechler from Israel was awarded Young Wildlife Photographer of the Year 2023 for his ‘Owls’ road house’, a dynamic frame of barn owls in an abandoned roadside building. Using the family car as hide, Carmel made the most of natural light and long exposure times to capture the light trails of passing traffic.
Carmel was just 11 years old when he began wildlife photography, and this is his first award in the annual competition. ‘I hope to share with my photography that the beauty of the natural world is all around us, even in places where we least expect it to be, we just need to open our eyes and our minds,’ says Carmel.
‘This photograph has so many layers in terms of content and composition. It simultaneously screams “habitat destruction” and “adaptation”, begging the question: If wildlife can adapt to our environment, why can’t we respect theirs?,’ says Kathy Moran.
The two Grand Title winners were selected from 19 astounding category winners that showcase the rich diversity of life on Earth. In an intensive process, each entry was judged anonymously by an international panel of experts on its originality, narrative, technical excellence, and ethical practice.
Dr Doug Gurr, Director of the Natural History Museum comments, ‘Whilst inspiring absolute awe and wonder, this year’s winning images present compelling evidence of our impact on nature – both positive and negative. Global promises must shift to action to turn the tide on nature’s decline.’
The newly redesigned exhibition also features videos showing the impact wildlife photography can have, and insights from jury members, photographers and Museum scientists to invite visitors to advocate for the natural world. The journey continues online with planet-positive actions audiences can take. The exhibition will tour across the UK and internationally to venues in Australia, Belgium, Canada, Denmark, France, Germany, New Zealand, Singapore, and more.
Photos fr. t.t.b.: © Laurent Ballesta, Carmel Bechler / Wildlife Photographer of the Year 2023
Editor’s Note: For the past few decades, the environmental movement has tried lobbying, educating, and holding rallies with the notion of protecting the natural world. This approach has not led to success. Instead of the destruction of the planet being slowed down, it has been progressing (in some cases, accelerating). This inefficacy has forced us to consider other means that might have better results. The deep green environmental movement has always called for use of any means necessary to protect the natural world. The following analysis highlights how more are opening up to the idea.
This story was originally published by Grist. Sign up for Grist’s weekly newsletter here
By Kate Yoder/Grist
It’s hard to think of something more wholesome than gardening. But the New Zealand gardening collective at the heart of Birnam Wood, a new political thriller by the Booker Prize-winning author Eleanor Catton, have a rebellious streak. The guerrilla gardeners trespass on unused land to grow carrots, cabbages, strawberries, and other crops. They tap private spigots and snipe the occasional tool from a shed in a wealthy neighborhood, imagining themselves as environmental revolutionaries.
Bookshelves are beginning to teem with radical environmentalists. In the sci-fi writer Kim Stanley Robinson’s The Ministry for the Future, a group called the Children of Kali target conspicuous “carbon burners,” knocking jets out of the sky and sinking yachts. A purported ecoterrorist also drives the plot of the mystery Hummingbird Salamander by Jeff VanderMeer, sending the main character on a risky mission into the world of wildlife trafficking. Then there’s Stephen Markley’s novel The Deluge, released in January, where a group of climate radicals called 6Degrees tries to avoid detection by the surveillance state as they instigate attacks on oil and gas infrastructure.
That eco-sabotage has captured so many authors’ imaginations seems to reflect a broader frustration with governments’ failure to rein in carbon emissions — a feeling that decades of peaceful protest weren’t enough, and the world is out of options. It has propelled climate fiction, once a niche genre, into the mainstream. Think of The Overstory by Richard Powers, a sweeping novel that follows activists who seek to save trees at all costs, employing human barricades, tree-sitting, and arson. It won the 2019 Pulitzer Prize and generated glowing praise from Bill Gates as well as Barack Obama, who said it “changed how I thought about the Earth and our place in it.”
History suggests that fictional stories about eco-sabotage, sometimes called “monkeywrenching” after Edward Abbey’s book of the same name, could inspire people to try something similar in the real world.`
“The world right now is ripe for radical activism,” said Dana Fisher, a professor of sociology at the University of Maryland. Last week, a report from the U.N. Intergovernmental Panel on Climate Change warned that the risks from climate change — both present and future — were even more severe than previously thought. In the last year alone, heavy rainfall submerged a third of Pakistan with massive floods and China endured a heat wave more intense and longer-lasting than any in recent history. The panel of scientists called for a “substantial reduction” in the use of fossil fuels, with the United Nations Secretary-General António Guterres declaring that the world needed a “quantum leap in climate action.”
Yet earlier this month, the Biden administration approved the Willow project, a ConocoPhillips oil drilling operation that could release up to 260 million metric tons of carbon over its lifetime. For progressive groups in the United States who spent recent years working with the Biden administration to pass the landmark Inflation Reduction Act, the single largest climate package in the country’s history, it felt like a betrayal — one that might lead to a shift in tactics.
“I mean, everybody knows that we are nowhere near where we need to be,” Fisher said. “And so the natural progression is you’re going to see folks, particularly young people, rise up.”
Apocalyptic storylines have long dominated environmental fiction — including Nevil Shute’s On the Beach, Octavia Butler’s Parable of the Sower, and Cormac McCarthy’s The Road — a frame that’s tailor-made to ramp up concern about planetary crises. “I think that a lot of climate fiction has been perhaps stuck in this mold of cautionary tales, of bad climate futures,” said Matthew Schneider-Mayerson, an English professor at Colby College in Maine.
Now reality is doing the work that fiction once did. With a quorum of Americans sufficiently frightened about the world’s trajectory — a full quarter of the population is now “alarmed” about climate change — writers are branching out. Authors are modeling for readers a transition from “apathetic awareness” to “meaningful action” by showing different kinds of political engagement, Schneider-Mayerson said.
That might explain the variety of unconventional activism in recent novels, such as the guerrilla gardeners of Birnam Wood and the utopian commune in Allegra Hyde’s Eleutheria (2022). Hyde’s novel follows a woman who joins a camp of eco-warriors in the Bahamas, after she read a guide to fighting climate change called Living the Solution. “I felt like a lot of climate fiction that I was encountering was purely apocalyptic,” Hyde told Grist. “But I wrote this because I wanted to use fiction as a space to imagine other possibilities, imagine utopian possibilities, and maybe open up that imaginative space for people.”
Eleutheria was inspired in part by The Great Derangement, a nonfiction book by the Indian author Amitav Ghosh published in 2016 that bemoaned the lack of serious literature about climate change, especially outside of science fiction, at the time. “I think it is a real call to arms to fiction writers to recognize how storytelling can and does shape how we live our lives in the real world,” Hyde said.
Another inflection point for climate fiction was the widespread popularity of The Overstory, the 512-page novel that brought attention to the ways trees communicate and wound up as a global bestseller. “It wasn’t hived off into the usual silos of climate change or speculative fiction, but was treated as a mainstream novel,” Ghosh told the Guardian in 2020, noting that he’s seen an “outpouring of work in this area” since the book’s publication.
Monkeywrenching is also spilling over into film. The movie How to Blow Up a Pipeline, coming out next month, is inspired by the Swedish writer Andreas Malm’s book of the same name, a manifesto that encourages sabotage and critiques the pacifism of the climate movement. The film adaption takes that idea and turns it into a work of fiction, following a group of disillusioned young people on a heist to sabotage an oil pipeline. The trailer shows them making bombs and features dramatic background music punctuated by klaxons. “They will defame us and claim this was violence or vandalism,” one activist says. “But this was justified.”
Previous films have tended to “pathologize” activists who destroy property, psychoanalyzing them to figure out what was wrong with them, Schneider-Mayerson said. “I think maybe there’s a sense that, like, you can kind of touch these topics, but you can never endorse it.” On the other hand, How to Blow Up a Pipeline ends with “a wink and a nudge,” according to an early review of the film. “You can almost hear the movie say that the sabotage doesn’t need to stop when the credits roll,” Edward Ongweso Jr wrote in Vice.
The idea that people might take a cue from the movie isn’t far-fetched, experts say. “I can just say for sure that there are a whole bunch of dissatisfied young people around the country,” said Fisher, the sociologist. “And if they start watching movies about blowing up pipelines, what will that do?”
Photo by Krists Luhaers on Unsplash
This article first appeared on the Association for the Tree of Live Website.
By JEAN ARNOLD
A ravenous, yet decrepit cyborg – part machine, part zombie – lurches onward as it is programmed to do. Its hunger is so insatiable that it eats its own flesh; it eats its offspring; and it eats the future. The catabolic effects are inescapable and its death rattle reverberates for miles. An entire city lives inside this beast. Yet in this late hour, inhabitants put their heads down and carry-on as usual, for they are all dependent upon this monster for their very own food, water, and shelter. No one dares utter a stray word, until the day one brave soul holds up a mirror that reveals who they have become.
A decade ago, I attended a series of contentious activist meetings with Rio Tinto, the mega-mining corporation that owns the massive Kennecott copper pit in the Salt Lake Valley. Rio Tinto planned to expand the mine, and activists were pushing back. The meetings foundered and collapsed upon the lack of viable possibilities for avoiding local impacts and for making operations more sustainable. Activists’ proposals were considered impractical and unprofitable. Ultimately, Kennecott got its expansion and activists got nothing.
Jean Arnold, Civilization, 2012, oil on canvas, 42 x 42 inches.
An early Egyptian pyramid is seen with the gaping hole of the Kennecott copper pit. As civilization builds up monuments to itself, it must tear down into Earth for her treasures.
As a visual artist, I took my angst to the studio and captured eviscerated earth in a series of paintings and drawings, depicting large-scale mining operations that are rarely seen or considered by the public. What better way to reveal our civilization’s insatiable hunger for resources?
I realized that the mining industry cannot be greened, intrinsically by its very nature. Mining casts a long shadow: habitat loss, land theft, worker exploitation, local health impacts, and groundwater contamination, to name just a few issues. Without mining and other forms of extraction, Industrial Civilization could not exist. Yet we rarely ponder our Wonder-World’s material basis and its extraction costs.
Turns out I’m not the only one working in this vein – far from it.
This year a broad panoply of photographers, painters, poets, and printmakers are raising a ruckus in a four-continent constellation of almost sixty exhibits, installations, performances, and events under the rubric “EXTRACTION: Art on the Edge of the Abyss.” When EXTRACTION originator Peter Koch announced the project, it took off like wildfire. Creators are shining lights on all forms of the omnivorous extractive industry, “from mining and drilling to the reckless plundering and exploitation of fresh water, fertile soil, timber, marine life, and innumerable other resources across the globe.” The project’s broad definition begs the questions: In our civilization, what isn’t based on extraction? What isn’t affected by extraction?
The Algonquin word “wetiko” reveals extraction as a symptom of the culture-wide soul-sickness driven by domination, greed, and consumptive excess. It blinds humans from seeing ourselves as part of an interdependent whole, in communion with all of life. It is through this toxic mindset that the world is divided up and consumed for profit.
Extraction is an uncomfortable topic: it confronts us with our system’s voracious appetite for taking Earth’s riches without reciprocity – the very epitome of wetiko. Sure, we can point at capitalism, corporations and elite interests, but as participants in this wetiko culture we are all infected by this mind virus.
Far beyond a “problem” – extraction and its consequences pose a predicament without escape. Humanity is hitting planetary limits: declining resources, excess CO2 in the atmosphere, and plastic choking our oceans. Many of the proposed “solutions,” are just new iterations of the same paradigm, bringing more extraction. For example, see our blog “We are Strip-Mining Life While We Drink ‘Bright Green Lies’” as to why “green” tech will never save us. Humanity has dug itself deep into a hole from which few of us may emerge.
Since stories create meaning, the “wetikonomy” seeks to maintain itself through a tight control over its own narratives. In our situation, the system rewards those that uphold its delusions: endless growth, techno-magic, fulfillment through consumption, and superiority over nature. We are told there is no alternative and things are getting better all the time.
Stephen Braun, The Hoarder, 2009, raku ceramics, 24 x 30 x 8 inches.
Clinging to the same mentality at the root cause of the crises.
The pressure to act according to these grand-yet-contradictory narratives is pervasive, which means compliance is near-universal. Witness the charades played by world leaders and diplomats at decades of climate conferences, giving lip service to fossil fuel phase-out while maintaining the techno-growth-extraction paradigm – essentially mocking the stated climate goals by clinging to the same mentality at the root cause of the crisis. Does anyone think this year’s climate conference, COP26 in Glasgow will play out differently?
Why are people so willing to surrender their agency? Society is captivated by a grand bargain described by social critic Lewis Mumford in his 1964 essay “Authoritarian and Democratic Technics”:
The bargain … takes the form of a magnificent bribe … each member of the community may claim every material advantage … food, housing, swift transportation, instantaneous communication, medical care, entertainment, education. But on one condition: that one must not merely ask for nothing that the system does not provide, but likewise agree to take everything offered … Once one opts for the system no further choice remains.
In other words, the bribe offers everyone a share in the largess, that is, the cornucopia of material goods unleashed by this industrial economy — as long as one does not question the costs to others, to ecosystems, or to the future.
The wetiko-spirit hates to be seen and named, as this begins to dissolve its parasitic power over its host. Dissent against the existing paradigm is ignored, penalized, or co-opted – that is, absorbed into the hegemony. Until it’s not. The time comes when costs become unbearable, limits are reached, and opposition finally boils over.
Thus, the last thing the power structure wants is a cultural spotlight on extraction, which exposes the core of our malady. And certainly not through art, which has a visceral, soul-level power – a power that scientific reports, statistics, and warnings do not have. Art can play a prophetic role: bearing witness to unsettling matters and grabbing attention before we can turn away. It can portray possibilities previously unconsidered, vitally needed at this time.
Jos Sances, Or, the Whale, 2108-2109, scratchboard, 14 x 51 feet
This very large scratchboard drawing was inspired by Moby Dick and the history of whaling in America. The whale’s skin is embedded with a history of capitalism in America—images of human and environmental exploitation and destruction since 1850.
EXTRACTION co-founder Edwin Dobb (now deceased) posed the question of our time: Can we break the spell? A growing chorus on the periphery – Greta Thunberg, poets, painters, performance artists, Extinction Rebellion – is revealing the sociopathic end-game holding us in its grip and unraveling slowly in real time. Learning to see wetiko within ourselves and our culture can begin to break its spell. Can we come to see our own hubris? Contraction is coming whether we like it or not – how can we deal with this if we are spellbound? We have no individual or collective roadmap for the coming post-extraction Reality.
The EXTRACTION project’s exhibits and events are winding down, although organizers hope for continuation in some form. Only a few more venues are scheduled to open, yet its effects will continue rippling outwards. The project has legitimized the extraction art movement and showcased some of today’s most potent work. It has broadened my own definition of extraction-inspired art, which helps me see new possibilities. The project will live on in the evolving work of extraction artists and in others forging authentic responses to our global predicaments. Art is all-too-often wed to money and societal embrace, compromising its own power and obscuring rather than illuminating Reality. Artmaking on the margins is not easy, so supporting this work is necessary.
Chris Boyer, Atlantic Salmon Pens, Welshpool, New Brunswick, Canada (44.885980°, -66.959243°), 2018.
Art that challenges the wetiko-extraction paradigm will become even more relevant, as extraction’s impacts widen. Extraction art is not going away, until extraction itself goes away. While industrial-scale extraction has “only” been with us for four hundred years, art has been with us for thousands of generations, since our early ancestors rendered images inside caves.
Listen to an audio of this blog, narrated by Michael Dowd.
Learn more about the EXTRACTION project.
EXTRACTION megazine (648 pages): download for free or purchase a printed copy for $25 + $7 shipping.
Partly a group catalog of extraction-related artwork, each artist or creator’s individual contribution documents their own personal investigations into the extraction question. The project is by no means limited to the visual arts—in these pages you will also find poetry, critical writings, philosophical treatises, manifestos, musical scores, conversations, historical or found photographs, and much more.
Make a donation to the EXTRACTION project.
No. 2 from Russian Drone Paintings (Mir Diamond Mine, Siberia) by Lawrence Gipe
Standing on the brink, before the towering back wall of the Berkeley, whose semi-circular sloping terraces resemble a gigantic Greek amphitheater, one is overtaken by a sense of doom…Viewed from the edge, the pit is a théâtre du sacrifice. The gateway to dominion is also a staircase to hell – Milton’s ‘wild Abyss’, the womb and grave of nature.
– Edwin C. Dobb, ‘The Age of the Sacrifice Zone’, EXTRACTION: Art on the Edge of the Abyss
In 2016, tens of thousands of snow geese, midway through their winter migration from Alaska to northern Mexico, diverted from their route in order to avoid a storm. Many landed on a blue lake at the bottom of a deep crater. But the water was not right; it hurt. Within minutes the exhausted birds were dropping dead in their thousands. Officials from the US Fish and Wildlife Service, examining the corpses afterwards, found burns inside their bodies, evidence of the cadmium, copper, arsenic, zinc and sulphuric acid they had sought to shelter on. This deadly toxic soup was what filled Montana’s milelong Berkeley Pit, leftover tailings from Butte’s heyday as the copper mining capital of the world, now one of the largest environmental clean-up sites in the country.
In 2020, the poisoned rivers, the hacked, fracked and exploded ground, the countless wounds from the thousands of mining projects in the American West inspired Peter Koch, founder and director of the CODEX Foundation, a California-based arts nonprofit, to launch a project called EXTRACTION: Art on the Edge of the Abyss. This ‘multimedia, multi-venue, cross-border art intervention’ invited artists from around the world to examine all forms of extractive industry, from open-cast mines in Butte to the exploitation of water, minerals, timber, coal, sand, animal and marine life, and the innumerable other ‘resources’ that fuel the global economy. EXTRACTION co-founder Edwin C. Dobb, who passed away in 2019, called this the ‘age of the sacrifice zone’, after an official government term for the areas that are left despoiled as the accepted collateral damage of so-called ‘progress’.
Dark Mountain’s 20th issue, ABYSS, is a response to that project’s call, bringing an uncivilised eye to the mindset of extractivism: an insatiable, pathological drive that has fuelled a seemingly endless expansion in energy use, manufacturing and economic activity. Just as our consumption appears to have no end in sight, there are no geographical limits: as mining or drilling operations shut down in one part of the world, having exhausted their seams or become economically unviable, new ones open up elsewhere – many of them to power the so-called ‘green’ technology boom.
Governments and billionaires dream of extending this frontier deeper and higher than ever before, from deep-sea mining on the ocean floor to plundering the minerals of other planets. Impelled by the need to take, take, take, the appetite of extractivism is all-consuming and unending.
In ABYSS , Alnoor Ladha and Martin Kirk write that we are living in the age of wetiko, an Algonquin term for a cannibalistic spirit that spreads like a virus. Amitav Ghosh draws the link between capitalist imperialism today and the 17th-century Dutch colonists in Indonesia’s Banda Islands, who massacred the indigenous population in order to gain control over the trade in nutmeg. And in South Africa, colonised for its mineral wealth and fertile land, Sage Freda writes of how environmental and human exploitation are inextricably linked; the more we wreck and ravage the Earth, the more deeply we damage ourselves. As wetiko spreads across the world, all of us – and all other species – end up living and dying in the sacrifice zone.
From the Amazon to the Niger Delta, the Atacama Desert to the Minnesota wetlands, communities and indigenous people are attempting to defend the living world from devastation. Many contributors to ABYSS are part of the pushback against the pillage: from the protest camp at the proposed lithium mine at Thacker Pass, Nevada, and from a deep-sea oil rig in New Zealand’s Great South Basin, we bring you stories from the activist front line. Derrick Jensen, Lierre Keith and Max Wilbert take us to China’s giant black lake full of toxic run-off from the rare-earth metal mining that powers our laptops and phones. And we meet a Romanian peasant farmer whose fight against fracking and open-cast mining has helped to save one of Europe’s last medieval landscapes.
How do we remain fully human while so much around us is being destroyed, especially as we (at least, some of us) enjoy so many of the material benefits that devastation brings?
Extractivism’s story can be told through these struggles, as it can be told through statistics: that China now consumes more sand for concrete and cement every three years than the US consumed in the entire 20th century; that wild animal populations have decreased by 60% in the last 50 years. But this book also tells the story of how extractivism feels – how do we remain fully human while so much around us is being destroyed, especially as we (at least, some of us) enjoy so many of the material benefits that devastation brings? The fiction and poetry in this book navigate this tricky terrain, from Claire Wahmanholm’s haunting depictions of glaciers melting on the page to Tacey Atsitty’s wrenching depiction of the poisoned water supplies of the Diné in the American Southwest.
Photography, observes Richard Misrach, is a profound means of bearing witness. Many images in this all-colour issue come from the EXTRACTION project, giving evidence of the otherwise invisible toll of our voracious appetites, from David Maisel’s turquoise lithium ponds in the Atacama Desert to Lawrence Gipe’s stunning cover image depicting the largest hole on the planet in Siberia. Noble views of sublime natural landscapes give way to surveys of industrial ravages, as artists behold the world’s dams, tailing ponds, abandoned mines, oilfields, slag heaps and quarries, and the walls of granite, marble and coal that lie beneath. Among the litany of disappeared places, Jaime Black’s The REDress Project alerts us to the absences of indigenous women in Canada, while Aboriginal artist Betty Muffler shows the scale and beauty of the Earth repair required in her post-nuclear work, Healing Country. This is the world we do not see: the reality that powers the illusion of our spellbound lifestyles, with our sparkly wedding rings, our magical keyboards, our salmon and steak dinners, our electric cars gliding towards the emerald green cities of the future.
Once you start looking through the lens of extractivism, you start to see it everywhere – in the intellectual industries’ absorption of organic life and culture to feed its never-ending appetite for analysis and codification; in the teetering stacks of digital finance, each newly created layer of speculative instrument appropriating value from the one below it; and in the exploitation of ‘human resources’, making ever-greater demands on workers’ psychological and physical labour while demanding they carry ever more of the economic risk. And the suspicion arises that, behind all these manifestations of extraction, lies the same emotional and metaphysical vacuum – a hole in the heart as long and wide as the Berkeley pit: unappeasable, irrational, and ultimately incapable of ever being filled.
IMAGE: No. 2 from Russian Drone Paintings (Mir Diamond Mine, Siberia) Oil on canvas Courtesy of the artist
Gipe’s latest series, Russian Drone Paintings is based on images taken by drones for news programmes and surveillance posted on the government–run RUPTLY Network. Each painting consists of a frozen frame from this feed with subjects like pit mines in Siberia, bombings in Syria, ghost towns on remote mountains, towns abandoned because of radiation, and other residual evidence of interventions into nature.
Lawrence Gipe’s practice engages the postmodern landscape and the visual rhetoric of progress, in media that ranges between painting, drawing, video and collaborative curatorial projects. Gipe has had 60 solo exhibitions in galleries and museums in New York, Beijing, San Francisco, Chicago, Los Angeles, Miami, Munich, Berlin and Düsseldorf. Currently, he splits his time between his studio in Los Angeles, CA, and Tucson, AZ, where he is an Associate Professor of Studio Art at the University of Arizona.
Order Dark Mountain: Issue 20 – ABYSS now from our website for £19.99 (plus postage) – or take out a subscription to future issues of Dark Mountain and receive Issue 20 for £11.99.
Planet of the Humans, an outstanding documentary by Jeff Gibbs and Michael Moore, drew a lot of attention when it was originally published on YouTube for free. But a coordinated censorship campaign lead to it being taken down from YouTube where it had been viewed 8.3 million times.
As Michael Moore wrote on his Facebook page:
“Day 4: Still banned. Our YouTube channel still black. In the United States of America. The public now PROHIBITED from watching our film “Planet of the Humans” because it calls out the eco-industrial complex for collaborating with Wall Street and contributing to us losing the battle against the climate catastrophe. As the film points out, with sadness, some of our environmental leaders and groups have hopped into bed with Bloomberg, GoldmanSachs, numerous hedge funds, even the Koch Bros have found a way to game the system— and they don’t want you to know that. They and the people they fund are behind this censorship. We showed their failure and collusion, they didn’t like us for doing that, so instead of having the debate with us out in the open, they chose the route of slandering the film — and now their attempt at the suppression of our free speech. “Democracy Dies in Darkness.” Fascism is given life when “liberals” employ authoritarian tactics. Or sit back and say nothing. Who will speak up against blocking the public from seeing a movie that a group of “green capitalists” don’t want you to see? Where is the Academy? Where is the International Documentary Association? If you leave us standing alone, your film may be next. What is pictured above could be the darkened screen of your next movie. Do we not all know the time we are living in? All this energy spent trying to save our film when we should be saving the planet — but the green capitalists have once again provided a distraction so that no one will see what they’re really up to, so that no one will call them out for thinking we’re going to end the climate crisis by embracing or negotiating with capitalism. We call BS to that — and that is why our film has vanished. But not for long. We will not be silenced. We, and hundreds of millions of others, are the true environmental movement — because we know the billionaires are not our friends.”
Michael Moore presents Planet of the Humans, a documentary that dares to say what no one else will — that we are losing the battle to stop climate change on planet earth because we are following leaders who have taken us down the wrong road — selling out the green movement to wealthy interests and corporate America. This film is the wake-up call to the reality we are afraid to face: that in the midst of a human-caused extinction event, the environmental movement’s answer is to push for techno-fixes and band-aids. It’s too little, too late.
Removed from the debate is the only thing that MIGHT save us: getting a grip on our out-of-control human presence and consumption. Why is this not THE issue? Because that would be bad for profits, bad for business. Have we environmentalists fallen for illusions, “green” illusions, that are anything but green, because we’re scared that this is the end—and we’ve pinned all our hopes on biomass, wind turbines, and electric cars? No amount of batteries are going to save us, warns director Jeff Gibbs (lifelong environmentalist and co-producer of “Fahrenheit 9/11” and “Bowling for Columbine“). This urgent, must-see movie, a full-frontal assault on our sacred cows, is guaranteed to generate anger, debate, and, hopefully, a willingness to see our survival in a new way—before it’s too late.
https://planetofthehumans.com/
From Julia Barnes, the award-winning director of Sea of Life, Bright Green Lies investigates the change in focus of the mainstream environmental movement, from its original concern with protecting nature, to its current obsession with powering an unsustainable way of life. The film exposes the lies and fantastical thinking behind the notion that solar, wind, hydro, biomass, or green consumerism will save the planet. Tackling the most pressing issues of our time will require us to look beyond the mainstream technological solutions and ask deeper questions about what needs to change.
The movie is available on Vimeo:
![On the Proposed Mining of “Thacker Pass, Nevada” [Dispatches from Thacker Pass]](https://dgrnewsservice.org/wp-content/uploads/sites/18/2021/03/SarahGPoemPhoto_sm-980x735-1-1.jpg)
Upon the Proposed Mining of “Thacker Pass, Nevada”.
A poem by Sarah Gar, a visitor to the land of the Paiute and Shoshone people and the sagebrush creatures.
It’s quiet here.
And I’m not talking
about experimental silence,
American guru silence,
or any sleek human site
that seeks inner peace
(and other noise)
to drown out the drawing-down
and drying-up of every sacred thing.
I’m talking about silence
of lands beyond witness,
a silence embedded and embedding,
the one nestling in the nighthawk’s cries
and cradling these words.
Tall sagebrush touches it —
4 feet 33 millimeters
of branching space,
where voice and silence
play by listening,
weaving water and light
without worrying who
appears as what
before whom.
It’s as if nothing can be said
to arrive or leave in wild places.
Even our breath cannot be said
to enter this place
where it meets other selves
always here and already inside.
But when Grandmother comes,
wakes the fire with practiced taps,
the flames flare in reminder
of whose Spirits keep this place.
Even in “deserted” places
dry soil knows to gather
soft and firm around water,
forming delicate strata
to nourish roots
and catch the drifting seed.
We, too, know to gather,
asking if we are also this place,
and if so,
how we can return.
To get here
we must track ourselves
by species memory,
a long way back,
to when losing one’s way
first became possible.
We trace back to the end’s beginning,
when the volume had to rise,
to create an endless diversion,
to mask the pesky screams
of women and slaves.
Yes, we tracked ourselves,
even did a blood spatter analysis.
A few facts emerged to tell us:
These facts cleared the room.
Even history couldn’t erase them.
The clock ticked.
Corporations continued to cut down the ancient ones.
And so we rose, rotating and revolving
pulled forward by the falling-apart feeling
which is love.
This must be love because,
as sung by Paiute and Shoshone,
danced by pronghorn and coyote,
this place would hold forever,
streams passing
through trouts’ gills,
sun glancing off scales
and into eagle’s eyes
as she watches over.
Past and future
would nest together,
quiet as grouse eggs,
speckled and constellating,
in tacit reference to each other.
Birth and death would spiral together,
strong and fragile as pyrg shell,
and we would learn again
to listen and to hold
this language,
the spinning of the silence
that found us first,
soft as jackrabbit,
buried as bones,
strong spines of sage
and mountain song.
As a former English professor from the East Coast, Sarah now focuses on writing and activism in the Pacific Northwest. Her poetry grieves patriarchal and colonial violence, summons reverence for the natural world, and upholds matriarchal cultures which cherish life.