The AI powered app Pollinator Pathmaker imagined gardens from a bee’s eye view audio experience Vegetal Transmutation encouraged listeners to view the Eden Project as a plant might while the film Kinommic Botany took this to the extreme: shot from a potato’s perspective and giving new meaning to the role of the YouTuber, it challenged our anthropocentric view of the world. Technology has often been used by the Eden Project to give viewers the opportunity to see the planet through other species’ eyes. Seeing the Invisible, an augmented reality exhibition, is accompanied by a Call to Action trail and activity book that invite young visitors to create a mind map, illustration or short video imagining what’s next. Other features invite visitors to complete the story. A nine-metre homage to micro-organisms at the Eden Project, Cornwall. “In the rainforest, you can smell it, see its visual abundance, feel the humidity and temperature on your skin, hear the sound of the waterfall, and the odd bird,” he says, citing the recent installation, Blue (Infinity Blue), a nine-metre monument to bacteria that fires O-shaped vapour rings into the air fragranced with “primordial” aromas.īlue (Infinity Blue) 2018. Sam Smit, the Eden Project’s creative head, believes the venue’s multisensory approach helps to inspire action. First opened in 2001, the Cornwall attraction, which features huge enclosures with more than 1,000 plant species, has since blossomed, attracting more than 1 million visitors a year, with a new marine venue in Morecambe, Lancashire, set to open in 2026. “I didn’t want penguins or icebergs,” curator Kathleen Soriano explained to the Guardian at the time: “We wanted people to have an aesthetic response.” In 2009, the exhibition Earth at the Royal Academy in London broke ground by examining the climate through abstract art. Large digital screens display videos narrated by David Attenborough each room in the space is dedicated to a different continent.Īll these exhibitions have deeper roots. The BBC Earth Experience in west London is inspired by the Seven Worlds, One Planet television series and takes viewers on a journey through the world’s wildlife. While these shows venture into sociology, politics and economics, others focus squarely on nature. Meanwhile, Dear Earth, showing at the Hayward Gallery at London’s Southbank Centre until early September, features works from 15 international artists that examine, in the gallery’s words, how art can “deepen our psychological and spiritual responses to the climate crisis”. Installation at Somerset House, London, 2018. Liam Young’s film Planet City, for example, pictured a future mega-metropolis of 10 billion, based on the biologist EO Wilson’s idea that humans could live on just half of the Earth and regreen the rest. Last year, the Our Time on Earth exhibition at the Barbican in London brought together 18 works from across the globe that imagined possible planetary futures. In 2018, the artist Michael Pinsky created a series of Pollution Pods at London’s Somerset House, filling five domes with the particulate matter of five cities. It is no wonder, then, that art in recent years has looked ahead, like Tomorrow’s World, to the future of the planet. Eggy worms don’t seem too scrambled an idea now. Closer to home, wildfires increased fourfold in England last year and annual flood damage costs could rise by 20% due to the crisis. We are living in a global climate emergency, with record heatwaves across the globe. While the early episodes of Tomorrow’s World opted for 60s optimism and, towards the series’ end in the 90s, dreamed of better things, the future of the planet today has never looked bleaker.
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