Music to assuage local weather denial? – Watts with that?

Guest contribution by Eric Worrall

h / t Dr. Willie Soon; Climate activist Naomi Oreskes now has her own theme song after the University of Utah hired a musician to compose a song about climate denial to convince people to read “Merchants of Doubt.”

Does climate doubt have a sound? At least that’s what a composer thinks

Alvin Powell Harvard Staff Writer
DATE June 22, 2021

How does “doubt” sound? In particular, scientific doubt, the deliberately sown, retentive uncertainty that has become an integral – and for many frustrating – feature of the climate change debate.

For composer Yvette Janine Jackson, it has the deep, gloomy persistence of the bass clarinet, the clattering flute that scares you, the sonorous cello to hold things together, and the deep, doubtful rumble of the double bass.

Jackson, an assistant professor of music at Harvard, recently added her musical voice to efforts to reach out to those unsure about global warming, despite the scientific consensus that the earth is warming and its climate is changing to unpredictable and unpredictable ways sometimes changed in destructive ways.

Jackson’s 15-minute play “Doubt” was written in collaboration with Naomi Oreskes, the Henry Charles Lee Professor of Science History, whose academic work, including her 2010 book “Merchants of Doubt,” focuses on the denial of climate science. The composition was commissioned for Earth Day by Artivism for Earth, a University of Utah project. Elisabet Curbelo González, assistant professor of music at the University of Utah and project leader, said Artivism’s intent was to encourage interdisciplinary exploration of the environment and therefore asked a wide variety of composers to partner with scholars to create works that those of Jacksons and Oreskes’ articles on climate denial of collaborations on pollution, melting glaciers, the plight of the world’s whales, and water scarcity, among others.

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I tried to listen to the new musical composition for a minute. It seems like a very postmodern piece, like one of those poems that have no rhyme.


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