A Review of Environmental Justice' Research in The UK: by Rebecca Nada-Rajah November 2010
A Review of Environmental Justice' Research in The UK: by Rebecca Nada-Rajah November 2010
A Review of Environmental Justice' Research in The UK: by Rebecca Nada-Rajah November 2010
com/research
By Rebecca Nada-Rajah
November 2010
Funded by
What is Environmental Justice?
1
wherein
‘expert’
opinion
is
negotiated
by
a
select
few
and
then
integrated
into
a
tactic
2
wherein
‘expert’
opinion
is
generated
and
executed
at
a
grassroots
level,
(e.g.
community
campaigning
against
injustice
in
land
use
issues
Where ‘Top-Down’ Meets ‘Bottom Up’: Environmental Justice
and Sustainable Development
In the World Watch Institute’s State of the World 2008 report, Tim
Jackson (2008) argues that a key reason that materialistic consumerism is
so deeply entrenched in our society is that it is perpetuated by an
“infrastructure of consumption”. The summation of the effects of dominant
structures and institutions in society are geared to promote wasteful and
consumptive behaviour: “private transport is incentivised over public
transport; motorists are prioritized over pedestrians; energy supply is
subsidized and protected, while demand management is often chaotic
and expensive, waste disposal is cheap, economically and
behaviourally; recycling demands time and effort: ‘bring centres’ few
and far between and often overflowing with waste” (Jackson 2008, p.
56) This recognition does not negate the role of individual choice in
sustainable decision- making, but instead highlights the means by which
our structures and institutions largely promote a “social logic of
consumerism”(Jackson 2009). Living in a society with such a heavy
predisposition towards excess, Jackson asserts, makes it difficult for even
the most highly motivated individuals to live sustainable lifestyles. Noting
that “the issue of environmental quality is inextricably linked to that of
human equality” (Agyeman et al. 2003) Jackson’s conception can be built
upon to argue that our Western consumer society is also constructed with a
predisposition towards exploitative behaviour: disruptive, polluting
industry is more likely to go into low- income neighbourhoods than
wealthy neighbourhoods, goods produced with ethical labour tend to be
more expensive than products of sweatshop labour et cetera. Thus,
perhaps a more comprehensive term for that which perpetuates both
unsustainable and inequitable behaviour in society is the ‘Infrastructure of
Consumption and Exploitation’.
The structures and institutions that perpetuate such hyper-
consumptive, exploitative behaviour in our social system are built upon a
core set of ideas and assumptions that inform their internal logic (Meadows
1999). This set of dominant ideas and assumptions are woven together to
form a social paradigm, or the dominant cultural narrative. In the
sociological sense, a paradigm refers to “a constellation of concepts,
values, perceptions and practices shared by a community, which forms a
particular vision of reality […] paradigms provide the framework of
meaning within which "facts" and experiences acquire significance and can
be interpreted” (Capra 1996).
The concept of a paradigm allows us to examine the root causes of
our social and ecological crises by providing a framework for the
discussion of ideas and assumptions which are not always explicitly stated.
Tim Jackson notes how the manifestation of these ideas and assumptions
can be seen in “…the subtle but damaging signals sent by government,
regulatory frameworks, financial institutions, the media and our education
systems: business salaries are higher than those in the public sector,
particularly at the top; nurses and those in the caring profession are
consistently lower paid; private investment is written down at high
discount rates, making long- term costs invisible; success is counted in
terms of material status (salary, house size etc.); children are brought up as
a ‘shopping generation’, hooked on brand celebrity and status” (2008,
p.56).
Thus, although social structures are predisposed to perpetuate
wasteful materialism and exploitation, it is vital to address this “extremely
powerful social logic” (Jackson 2008, p. 56) that locks both people and
institutions into this type of behaviour. For the purpose of this exploration,
the paradigm, or social logic, underlying our social infrastructure is
referred to as a ‘core cultural mythology’. The core cultural mythology is
defined as the ‘lowest common denominator’ of a shared narrative which
governs our lifestyles, incorporating the values and assumptions which are
widely experienced but rarely explicitly stated.
“The institutions of global capital mange the imagination in the first instance through
media institutions. Hollywood cinema, the television and newspapers of the great
media empires like Fox and CNN. These forms create the narrative superstructure
around which our imagination grows. In this way we learn to think along certain
paths, to believe certain truths, all of which tend, in the end to further the aims of
capital and the continuance of economic growth. Once the superstructure is in
place, our own individual creativity will tend to grow around it and assume its shape
so that the stories we tell ourselves, the photographs we take and so forth, are put in
the service of the same narratives and assumptions […]Very few imaginations are
totally colonized, just as very few are totally liberated. In most minds there is a
constant back and forth- a dialogue between challenge and assumption like waves
washing against a shoreline. […] By intervening in the realm of the imaginary,
power continually shapes our understanding of reality” (2007, p. 216)
Greig argues that art has the capacity to resist this ‘management of the
imagination’ by the interests of capital by being dedicated first and
foremost to the truth, and thereby challenging the core cultural mythology
which has led to an Infrastructure of Consumption and Exploitation. Thus, if
we are to truly address our social and ecological crises, we require both an
art and a science that is unrelenting in its pursuit of truth. This may allow us
to recover our core cultural mythology from the ‘management of the
imagination by capital’.
Perhaps this sentiment is better expressed in playwright Harold
Pinter’s 2005 Nobel Lecture: “I believe that despite the enormous odds
which exist, unflinching, unswerving, fierce intellectual determination, as
citizens, to define the real truth of our lives and our societies is a crucial
obligation which devolves upon us all. It is in fact mandatory. If such a
determination is not embodied in our political vision we have no hope of
restoring what is so nearly lost to us - the dignity of man” (Pinter 2005).
The Virtues of Storytelling
As we have seen, the environmental justice movement is a highly
localized struggle, most often arising in response to injustice affecting a
specific community. For a popular movement to take off, an injustice must
be uncovered and gain the widespread recognition of the people. Thus,
the role of the village bard is just as important as that of international policy
–makers.
Social change is never a merely intellectual process- it demands the
engagement of the senses and the passions in addition to the intellect. In
the words of Antonio Gramsci: “The intellectual’s error consists in
believing that one can know without understanding and even more without
feeling and being impassioned [...] that is, without feeling the elementary
passions of the people” (in Conquergood 2002, p.418). The arts provide a
space for the engagement of the passions with the intellect and create a
forum wherein the key paradigms that underlie a society can be called into
question as necessary.
German philosopher Jurgen Habermas describes the process of
'rational reconstruction' as the means by which intuitive knowledge is
systematically linguistically and philosophically coded into a 'rational',
logical form (1979). ‘Rational reconstruction’ is used to make sense of
external and internal realities via a process of interpretation (eg.
interpreting a smile as benevolent), as opposed to generating theoretical
knowledge via a process of deduction and description (eg. using the
scientific method). Thus, according to Habermas' conception, a great
proportion of what we construe as knowledge originates in a sensory-
intuitive experience and subsequently becomes codified via a process of
rationalization. As artistic creation is an expression of the sensory- intuitive
experience, art has the capacity to serve as a precursor to rationalized
knowledge.
In a paper entitled Interventions and Radical Research, the
performance studies scholar Dwight Conquergood explores the "indirect,
nonverbal and extralinguistic modes of communication [in society], rich in
subversive meanings and utopian yearnings” (Conquergood 2002 p.148).
Conquergood provides a particularly illuminative example of the
phenomena of 'rational reconstruction' as conceptualized by Habermas in
his discussion of the life narrative of the African- American abolitionist and
former slave, Frederick Douglass (1818-1895). He quotes at length from
Douglass' memoirs, well worth reiterating:
But, on allowance day, those who visited the great house farm
were peculiarly excited and noisy. While on their way, they
would make the dense old woods, for miles around, reverberate
with their wild notes. These were not always merry because they
were wild. On the contrary, they were mostly of a plaintive cast,
and told a tale of grief and sorrow. In the most boisterous
outbursts of rapturous sentiment, there was ever a tinge of deep
melancholy [...]. I have sometimes thought that the mere hearing
of those songs would do more to impress truly spiritual-minded
men and women with the soul-crushing and death-dealing
character of slavery, than the reading of whole volumes [...].
Every tone was a testimony against slavery [...]. The hearing of
those wild notes always [...] filled my heart with ineffable
sadness [...]. To those songs I trace my first glimmering
conceptions of the dehumanizing character of slavery [...]. Those
songs still follow me, to deepen my hatred of slavery, and
quicken my sympathies for my brethren in bonds[...] If any one
wishes to be impressed with a sense of the soul-killing power of
slavery, let him go to Colonel Lloyd’s plantation, and, on
allowance day, place himself in the deep pine woods, and there
let him, in silence, thoughtfully analyze the sounds that shall pass
through the chambers of his soul, and if he is not thus impressed,
it will only be because “there is no flesh in his obdurate heart.”
(Douglass [1855] 1969:99 in Conquergood 2002 p. 145)
In the words of the German playwright Heiner Mueller: “the role of art
is to mobilize the imagination" (Waltemath 2004). In 2005 Heavy Trash, "an
anonymous arts organization of architects, designers and urban planners"
set up viewing platforms on the streets of Los Angeles' gated communities,
wherein the general public can look onto the properties of gated homes by
climbing onto a platform and peering over (Heavy Trash 2005).
Figure: 'Viewing Platforms' into Los Angeles Gated Communities (Heavy Trash
2005)
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