Tag Archives: Toni Tileva

Geoengineering

In May, scientists reported that the average daily level of CO2 in the atmosphere surpassed 400 parts per million, an alarmingly high concentration level last seen two to four million years ago.

Even if humans miraculously halted all carbon emissions next week, the problem of climate change would be an inescapable and grim reality as most of the heat-trapping gas would linger in the atmosphere for decades or even centuries. The inertia in the world’s warmed oceans would prevent a quick return to cooler temperatures, even as the CO2 levels decrease. The most optimistic predictions for the rest of the century, cited by the Intergovernmental Panel on Climate Change in its 2007 assessment report, forecast a rise of 2.0 to 5.2 degrees by 2100, while the direst anticipate a rise of 4.3 to 11.5 degrees. Among the anticipated effects are rising sea levels, increasingly severe storms and droughts, and melting glaciers and permafrost.
So what exactly is geoengineering then, a concept given some unexpected attention and increasing legitimacy by its mention in the most recent IPCC report? It refers to methods that “aim to deliberately alter the climate system to counter climate change.” The rather controversial area of engineering Earth’s climate seems to now be firmly planted on the scientific agenda. Some climate models suggest that geoengineering may even be necessary to keep global temperatures within the 2 °C above pre-industrial levels mark, agreed upon by the scientific and international community as the “tolerable” level. Most geoengineering technologies generally either reflect sunlight — through artificial “clouds” of aerosols, for example — or reduce the amount of greenhouse gases in the atmosphere. Reducing greenhouse gases generally involves carbon-capturing technologies that range from building towers to collect it from the atmosphere to grinding up rocks to react with CO2 and take it out of circulation. Solar geoengineering involves ideas including deflecting sunlight away from the earth with massive space shields or with clouds over oceans.

Renowned author Clive Hamilton recently visited American University’s School Of International Service to talk about his recent book, Earthmasters, and the environmental justice implications of climate engineering proposals. SIS Professor Simon Nicholson, who is a part of The Washington Geoengineering Consortium, moderated the event. Hamilton explained that until recently, geoengineering was largely a scientific discussion, held behind closed doors, and that it was very much viewed as a “Plan B” solution in the event that cutting greenhouse gas emissions was unsuccessful at the requisite speed. He referenced Harvard professor David Keith as the foremost proponent of climate engineering. The main climate geoengineering plan was inspired by sulfur-spewing volcanoes and involves using jets to spray sulfates into the stratosphere, where they would combine with water vapor to form aerosols. Dispersed by winds, these particles would cover the globe with a haze that would reflect roughly 1 percent of solar radiation away from Earth.
The 1991 eruption of Mount Pinatubo, which shot some 10 million metric tons of sulfur into the air, reduced global temperatures about 1 degree F for at least a year. The sulphate aerosol shield would be regularly sprayed into the stratosphere to create a dimming effect and a resultant cooling akin to what happens when there are large volcanic eruptions. Couching the discussion in the context of environmental justice, Hamilton stated “we need to implement the sulfate aerosol shield to protect the Pole as a matter of justice, because there is nothing more unjust than the impact of climate change itself.”
A big issue that remains, however, is the uncertainty of how well it would work—there is no question about the cooling effect the shield would have but whether that cooling would be systematic and how it would affect precipitation patterns and the climate as a whole is a major question. Another issue is what Hamilton called the question of governance: a) who should control the technologies (patents?)?, b) who should make decisions about the deployment of geoengineering schemes?, c) where would the sulfite sprays be applied (over the Arctic or at the Equator, for example)?, and d) how would they be applied? “Essentially, the question is who should have their hand on the global thermostat.”
The most recent report by the IPCC reinforced the rather dire projection that “with business as usual,” we would surpass the 2 degree threshold set as an acceptable level of temperature change within a decade. SIS Professor Paul Wapner stated, “business as usual is what has gotten us in trouble in the first place, and this solution may seem like more business as usual. We tend to not solve problems but displace them across time, space, and species.”
Hamilton agreed that what was initially a Plan B is now a nearly inevitable course of action as mitigating efforts do not seem to be progressing forward at the requisite rate to stem drastic climate change. But he expressed a lot of reservations about the Promethean-like nature of this sort of intervention and the “technology will save us now” air to it. “In essence, this plan is being marketed as turning a drastic failure of the free enterprise system into a triumph of humanity’s ability to solve our greatest problems through technology.” In her recent article, Dr. Rachel Smolker took issue with what she perceived to be the normalization of geoengineering: “This insistence that we engage in debate over climate geoengineering is part of the process of ‘normalization’ that seems orchestrated — perhaps deliberately — with the intent of habituating people to the whole idea of climate geoengineering as an option.”
 In a response, Dr. Simon Nicholson stated, “geoengineering is in fact entirely normal. It is the expected response of a culture that looks to technological solutions to complex societal challenges. It makes far more sense, in that light, to have an active voice in the geoengineering conversation than to seek to suppress it.”

Fashion: District

My review of fashion: district for Brightest Young Things:

Saturday’s fashion: District was a vibrant testament to the creativity, vitality, and relevance of DC’s fashion scene. Much akin to the much-maligned, non-existent DC hip hop scene, many would not exactly conflate DC and a fashion hub. ReadySetDC have single-handedly put DC fashion on the map, showcasing designers that are not only visionaries but who put out high-caliber, professional work well-deserving of the couture label. Plainly-put, it is not every day that you find yourself feeling like you are in Pret-A-Porter or The September Issue in the middle of DC and ReadySetDC are the ones who made it happen with such panache and flair.

Ginger Root Design were a true breath of fresh air with vintage-inspired, smart and original designs. Perfecting the art of upcycling [making something new out of something already in existence], the style was equally parts London-esque, tweed-and-zipper chique and something that Maggie Gyllenhaal in Secretary would wear. Zooey Deschanel/Manic Pixie Girl would definitely rock Ginger Root! Their designs were funky yet not groan-inducingly, self-referentially hipsterish.The colors were bold yet the patterns were not busy and relied more on a blocks rather than smashing of patterns approach.As the only designer to use “normal-sized” models, it was apparent that while Ginger Root make high-end fashion, their clothes were designed with a more pragmatic brush stroke and with at least some concern for practicality.Their menswear collection was particularly enthralling with two of the more memorable outfits being a tweed jacket with a zipper slicing a diagonal across the front and three leather straps as a closure and gingham shirt under a vest with a three-layered tie composed of overlapping triangles. The vest had a horizontal band of gray silk on the back, making for an extremely interesting layered visual effect.

Espion presented a really unique line of high-end evening couture. Some of the dresses were a really innovative mash-up of dominatrix meets Greek-goddess evening gown elegance. If you can imagine Athena channeling Madonna during the Blonde Ambition tour, you would get a pretty accurate idea. Other dresses were extremely regal—white and made of a stretchy material for a very sophisticated look.

Hugh & Crye delivered a very trendy men’s business wear line—it was solid and respectable and more than a little style. Artaya relied heavily on black, red, and white blocky ensembles with a nod to interesting textures.

SaintCHIC’s style was street-savvy yet high-fashion.For example, a lot of the skirts and pants relied on a “mummy” technique—they were comprised of overlapping-“bandages”/swaths of fabric.Definitely very unique and clever, and maybe a bit inspired by elements in industrial-scene wear which has been using straps on men-skirts for a good while now.The tops show-cased really layered framing necklines with a vaguely graffiti-esque feel that was equally parts hip-hop-dancer-sassy and classy.

Sika’s designs screamed creativity.Some of the fabrics had traditional African prints; some were very Asian.There were daringly plunging necklines and wee little bottom pieces, with bold colors such as orange and batik-like prints.Anthropologie would have been jealous!

Durkl’s line this season was downright underwhelming, at worst, and incredibly confusing, at best, especially considering how well-established and popular their line is.I think I was not alone in my luke-warm response to the fall collection, but maybe like the Post, I just don’t get it.At times, it seemed like they were channeling men’s wear circa Gap 1980, at other times, it seemed like their colors were literally popsicle- inspired [think patterns ala those fourth of July garish blue and red ones].

Derringer Friday deserve credit for figuring out how to make men’s ties swagger-worthy [common, it’s not an easy job]. Having female models strut around only in men’s shirts and thigh-high boots to “Ain’t Nuthin’ But A G Thing” will do that. Their end-of-the-show drinking-a-beer signature gimmick was also interesting, if a little befuddling. Oh, yeah—the ties were great too.

Fashion: District was a perfect mix of flair, swagger, style, finesse, and hard work and definitely an all-around rollicking good time.