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Fire Weather
February 12, 2025
 
As the old year ended, we celebrated part of the holiday season with close-by daughter and grandchildren and intermittently spent time online with more far-flung offspring. The new year began quietly, our Wisconsin and Florida daughters and their families settled into post-holiday employment and pre- and post-graduate schooling. Our son in California left home for a short Asian holiday, enjoyed wrestling events in Japan and wandered briefly in Taiwan. I didn't hear from them often but, as usual, I calmly checked up occasionally on whatever localities they were experiencing. It didn't take long to raise my continental anxiety level.
 
Big storms were predicted for coastal Florida—we'd experienced some in our most recent autumn visits there—and I scanned the news daily, mostly to relief. But then, barely a week into January, alarming news about fierce fires in familiar California locales sent me online several times a day to locate where they were emerging and how they were expanding. The fires were widespread, though when I found our son's neighborhood on whatever telecast maps I located, I was at least briefly reassured. I couldn't know how much he learned in Asia about the Los Angeles fires, which were still raging when he soon returned home, but he then reported that his neighborhood was safe. Until the fires were finally subdued, and rainstorms eventually reassured us of their unlikely resurgence, I still checked in daily, mostly calming whenever he told us what conditions were like nearer to him. His neighborhood avoided the most ferocious blazes of the multiple fires surrounding it, but even after he was confirmed safe, I couldn't stop thinking about them.
 
By chance, among end-of-year birthday/Christmas giftbooks, I'd received John Vaillant's recent Fire Weather: A True Story from a Hotter World. Reviewer Robert Macfarlane describes it as "a landmark in nonfiction reportage on the Anthropocene, or what Vaillant here calls 'the Petrocene'—that epoch defined primarily by humanly enhanced combustion." In a recent book of my own, I'd tried to replace the familiar term 'Holocene' with the more appropriate 'Anthropocene' but Fire Weather soon convinced me that 'Petrocene' should be the more accurate term. I quickly became deeply immersed in the book.
 
For me, Fire Weather was a long read: 359 pages of text in small print in three parts, with nearly fifty additional pages of Notes and Bibliography. The narrative's primary setting is Fort McMurray, a once thriving oil industry community in Alberta Province, due north of Montana between British Columbia and Saskatchewan, In May 2015 a tremendous fire devastated the area, sweeping over a vast portion of Alberta and some of Saskatchewan for several days. Vaillant sets up the background of the oil industry there in Part One, provides a deeply detailed account of the fires throughout Part Two, and in Part Three gives us an expansive overview of the future the oil industry and Canada's climate will have to face. I confess I was alarmed throughout the book's first two sections, continually in suspense over the fire's expanding growth and consequences, and then, in the third section, constantly distressed over implications regarding the future we all face because of the approach to climate that we've been engineering throughout the Anthropocene Epoch we're living in.
 
In the past, I suspect, most of us who decided to read about some calamity or another tended to approach the event as something occurring distantly, something one-of-a-kind, notable for its power and its scale but essentially remote from the rest of the world—from the daily living most of us experience. Vaillant acknowledges that, until recently, such stories were seen "as glimpses of a frightening and aberrant event outside normal time, in a place safely far away." He now suggests that they were—and are—"in fact . . . messages from the near future and from very close to home" and asserts that "extraordinary changes have taken place across the entire climate file": atmosphere, energy, forestry, and especially "fire itself". He reports that "a host of states and countries"—he specifically names 32 places from South Africa to North America, from Europe to Australia—where people would find themselves living in a landscape susceptible to fire. "Since 2016, even places we never considered capable of burning"—he mentions the Arctic, the Amazon, the moors of Britain, Notre-Dame Cathedral, Boulder, Colorado—have caught fire and burned.
 
Reporting on the history of the "kind of disruption" occurring "in the context of drought and rainfall," Vaillant informs us that it is "now referred to as a 'phase shift': a dramatic, effectively irreversible change in a region's climate regime. There is abundant evidence that phase shifts are now under way across much of the planet." The example of fire behavior he offers comes from California: "in the 1950s, the state's fire season lasted about four months; today, it is effectively year-round, and the acreage burned during the most severe seasons (1950 versus 2020) has increased eightfold (to say nothing of lives and property lost)." "In New Mexico," he adds, "fire weather days have increased by 120 percent since 1973." His book was published before the January 2025 fires in California.
 
The most discouraging aspect of fire's increasing presence and possibility is that, from a historical perspective, there was a time when fire at such a scale did not take place and only the intervention of human industry and the exploitation of natural resources have brought us to a time in history when reversing the climate change that we persist in keeping in motion may be impossible. Even if we stopped the relentless development of industry, we've likely gone too far to change its potential impact. The Anthropocene, the period of Earth history overwhelmed by human exploitation of natural resources, has probably actually become the Petrocene; the chemical impact on the climate everywhere has overwhelmed the period when people had charge and could have made better choices. In America, as confirmation, the current president has vowed to concentrate on industry and has thoroughly dismissed climatology.
 
Despite how troubled I am by what it portends, Fire Weather is a book everyone should read. As my grandchildren set out into the world of grownups—one will graduate from university this year, one will become a college sophomore, one become a freshman in the fall—I try not to cast my imagination too often into the future of the world they—and their children and their grandchildren—will be living in. For a while still, that's where, attentively, I'll be also be living.
 
Notes:
O'Connor, M. R., "Line of Fire," The New Yorker February 3, 2025: 12-16. An Annals of Disaster essay.
 
Vaillant, John. Fire Weather: A True Story from a Hotter World. New York: Alfred A. Knopf, 2024: 252, 354-355.
 
 
 

Immersed in Art

 

I attended the "Beyond Van Gogh" exhibit at the Wisconsin Center in Milwaukee twice in one week, first in a family group that included Sue's sister Sarah, visiting from Michigan, then a few days later I returned with our son Tom, visiting from California, whom we hadn't seen in person in a year and a half. I thought that, as someone working with animation on both Cartoon Network and Hulu, he'd be interested in the "Immersive Experience" the exhibit promoted. Of course, what he'd bring to the exhibit would be different from what I brought to it.

 

"Beyond Van Gogh" immerses viewers in Vincent Van Gogh's artwork through audio-visual animation that surrounds them with colors, shapes, music, motion, and quotes from his writing. You enter through a room hung with rows of empty picture frames and dangling panels of explanation and quotation mounted on backgrounds from his paintings. Weaving your way among the rows, you enter a second room with black walls where wavering white dots slowly congeal into the shape of Vincent's face. In a much larger third room Van Gogh's paintings are projected onto every surface—the walls, several tall square columns, every inch of flooring.

 

It's hard to know where to fix your attention. With light and color pulsing around and below you, everything competes for your scrutiny. You may recognize individual paintings you've seen displayed in museums you've visited or encountered online or in books, but it's hard not to be disoriented by the size and scope of what encircles you. The paintings are not mounted in isolation on the walls but projected expansively onto every surface. Moreover, they are often in motion, morphing from one image to another, flowing off the walls and across the floor beneath your feet. You and all the dark figures around you are—Well, yes!—immersed in Van Gogh's artwork.

 

Individual images often come to life. Gazing at one familiar Van Gogh self-portrait towering over me on a nearby square column, his face spilling onto two sides, I saw his left eye blink—or was it a wink? Clouds changed shape in the "Wheatfield Under Thunderclouds" image. As the "Wheatfield with Crows" landscape unrolled across the wall and flowed onto the floor, the crows began flapping their wings and flying across blue sky. "Sunflowers" arose all around us. The "Almond Blossom" painting spread itself across one wall after another until it encircled the room and then its blossoms began sailing across every wall and every column and every patron and everywhere underfoot. At other art exhibits I've taken snapshots to aid my memory; here I started a long video that made me rotate around the room and linger on the closest column, blossoms abounding, until I became aware of the walls slowly changing their image, the blossoms no longer falling and another landscape emerging behind them.

 

Swirls of light on a dark blue background became "The Starry Night," overwhelmingly immersive. The soundtrack played an instrumental version of Don McLean's tune "Vincent," the one that repeats the phrase "Starry, starry night." The melody for Paul Simon's "America" played as well—both tunes would repeat in my head often over the coming days and make me struggle to recall their lyrics. "The Bedroom." "The Yellow House." "Vase of Gladioli." "Vase with Irises." "The Potato Eaters." Self-portrait after self-portrait lining the walls. An abundance of the artist's signatures inscribing themselves in multi-colored squares and rectangles. Countless images constantly replacing one another.

 

I felt absorbed into it—thoroughly immersed. Each time I visited, I left uncertain how to describe it. We all found it overwhelming, my son most impressed by its technology and the effects attempted. "Immersive experiences" have proliferated in recent years. "Beyond Van Gogh" is only one of several such Van Gogh exhibits, some considerably more extravagant and theatrical, and other artists, including Frida Kahlo and Salvador Dali, have also been subjected to the approach. Imagine being immersed in Kahlo's "The Wounded Deer" or Dali's "The Persistence of Memory."

 

Such exhibits inspire mixed reactions. Loath to have artworks transformed into animated entertainment, purists prefer gazing silently upon the originals. I like that too, though in a museum it often means maneuvering my way around other viewers hoping for a close-up look. One screen in the Van Gogh exhibit claimed that the "unlikely pairing of the digital and the classical allows one to dive into this world of paint, to experience it from the inside, to vibrate with it." It can be argued that immersive viewing is apt to send you back into the art itself, trying to get closer to his artistry, if only on a computer screen. Van Gogh surely absorbed himself deeply in his paintings; perhaps he'd appreciate experiencing such a thorough immersion in them this way.

 

Notes: A review by Ben Davis of two other Van Gogh Immersive Experiences and a review by Sarah Cascone of the Frida Kahlo exhibit "Frida: La Experiencia Immersiva" can both be found online in artnet news.

 

Feighan, Maureen. "New 'Beyond Van Gogh' immersive art exhibition fascinates," The Detroit News, June 25, 2021.

 

Schulman, Sandra. "Beyond Van Gogh: Starry Night, Sunflowers and Immersive Madness," Florida Daily Post, April 15, 2021.

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