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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.
 
 
 

Seeing the Invisible

Ai Weiwei, "Gilded Cage"

 

I recently toured "Seeing the Invisible," billed as "An Augmented Reality Contemporary Art Exhibition," at Marie Selby Botanical Gardens' Spanish Point campus on Little Sarasota Bay. We'd walked its 30 acres of varying historical and environmental sites several times over the years—entered its "Window on the Past" archaeological exhibit within an ancient shell midden; checked out the pioneer history also preserved there, a few buildings carefully restored; and strolled well-maintained formal gardens and lawns. A twisting walkway extends partway out a wooded peninsula (the Spanish point) and bridges a cove to further historic buildings and gardens. Spanish Point is rich in botanical variety, small signs identifying plants and trees everywhere, and the landscape abounding in butterflies. It felt odd this time to walk around Spanish Point and not pay ardent attention to the landscape.

 

"Seeing the Invisible," which will run until August 2022, features works being simultaneously displayed in five other countries—Australia, the United Kingdom, Canada, Israel, and South Africa—and five other states. Developed by the Jerusalem Botanical Gardens, it highlights works by thirteen artists of varying international heritage. At each site visitors who have downloaded the exhibit app (preferably before arriving at Spanish Point) can stand near a numbered sign to open up a scan of an artist's presentation and hear audio accompaniment. The first site opened on Daito Manabe's "Morphecore Prototype AR," showing, the online guide tells us, "an endlessly dancing digital figure, continuously morphing into new shapes." All the while I could see the wooded garden behind him. Juno Enoch, the box office attendant who helped me activate my app, had led me to that site and when she indicated something behind the contortionist, her physical hand entered the digital image.

 

Out on the point, in a sunken garden with a pergola, I opened "Dawn Chorus," Sarah Meyohas' presentation. A player piano appeared in front of me from which birds "seem[ed] to trigger a series of musical phrases . . . Watercolors bloom[ed] across the surface of the piano, visualizing the movement of the birds as well as the sound waves that emanate[d] from the vibrating strings." I stepped away from the piano, then nearer, then from one side to the other, occasionally glancing away from my phone to assure myself that no piano or birds were actually in front of me.

 

Not far from the sunken garden, on an open lawn, other visitors investigated Ai Weiwei's "Gilded Cage," appearing as a huge circular wooden structure with open entrances on either side. One woman trying to walk through it disappeared when she reached the wall. I moved my phone up and down to scan the height of the walls, then circled the cage, confirming that it was fully three-dimensional. Weiwei had made his augmented reality project from an earlier physical work he had constructed. On site it seemed fully real. Further out the point, at the end of the walkway, I tuned into a 3-D scan of "a snake-like creature entwined with a dry cactus," Jacob Kudsk Steensen's "Water Serpent," and watched it writhe for several minutes as its global eye turned toward and away from me.

 

Before my iPhone overheated and shut down (exhibitors recommend bringing a charger on your walk—I didn't), I viewed two works on open lawns. Timor Si-Qin's "Biome Gateway" displays "a temple cave that connects the biotopes and organisms of the botanical garden to a parallel universe," part of the artist's "long-term meta-project" reacting to "climate change, global pandemics, and biodiversity." An open portal invites entrance. Sigalit Landau's "Salt Stalagmite #1 (Three Bridges)," a tall, sprawling structure that made me back ever further away to take it all in, "derives from Landau's original idea of building a floating salt bridge over the Dead Sea to connect Israel, the Palestinian Authority, and Jordan." Until I opened those scans, I found myself in the midst of lively large butterflies and moths, reminding me that I'd previously come to Spanish Point for the natural environment, the woods and the gardens and the views of the bay.

 

I shut down the app and un-augmented Spanish Point returned to view, the small AR number signs barely noticeable. I'd been only slightly uncomfortable walking through a garden looking at my phone, pleased to have had the reality of a familiar place modified in the way it had been, impressed with the quality of imagination in the art, and uncertain how to feel about their impermanence. How much of the digital future should I be willing to accept as a permanent addition to the past? When I visit Spanish Point again next year, after the exhibition has ended, I wonder how many of those images I'll still be able to visualize, and how often in the future we'll accept having reality augmented.

 

Note: "Seeing the Invisible: An Augmented Reality Contemporary Art Exhibition," Marie Selby Botanical Gardens Historic Spanish Point Campus

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