Author: Caroline Martinot

2010 has been declared the International Year of Biodiversity (IYB) by the United Nations. It was officially launched on January 10th in Berlin by Angela Merkel and UN Secretary-General Ban Ki-moon. The global campaign is being run by the Convention on Biological Diversity (CBD) which was created after the Rio Earth Summit in 1992 to ensure the conservation and sustainable use of biodiversity.

The campaign is an opportunity to promote the understanding of ecosystems and to raise awareness of the importance of biodiversity, the variety of life around the planet and how human activity is endangering it. And ultimately to slow if not to stop the extinction of many species.

“You are biodiversity. Most of the oxygen you breathe comes from plankton in the oceans of the world and lush forests around the globe. The fruit and vegetables you eat were likely pollinated by bees, and the water you drink is part of a huge global cycle involving you, clouds, rainfall, glaciers, rivers and oceans.”IYB Message (excerpt)

The campaign aims to impact both the world’s decision makers and citizens.

Indeed, 2010 will be punctuated by a series of official events.  On January 21st and 22nd in Paris, the UNESCO hold an inaugural event to present what we know about biodiversity and raise awareness of the alarming rate of biodiversity loss among world leaders.  During this meeting Ahmed Djoghlaf, Executive Secretary of the CBD highlighted that  member states “failed to fulfil the target to reduce the rate of loss of biodiversity by 2010” and warned that biodiversity was being lost at an “unprecedented rate”; stressing thereby the urgency of drastic actions. But as a good communicator and as recommended by the UN Campaign Guidelines, Ahmed Djoghlaf also instilled optimism and excitement to his audience by reminding them of the regional successes.  “We need to identify these important successes and build upon them as we prepare the next strategic plan of the CBD.”

Current trends make it hard to share his optimism.  Indeed, in 2010, approximately 34,000 plant and 5,200 animal species face extinction (the current global species extinction rate is estimated to be 50 to 1 000 times higher than the natural background extinction rate). Forests are home to much of the known terrestrial biodiversity, however, forest biodiversity is increasingly threatened as a result of deforestation, and about 45 per cent of the Earth’s original forests are gone, mostly during the 20th century. Climate change is also progressively becoming a more significant driver of biodiversity loss.

Anyway, in the UK the IYB is supported by the campaign “Biodiversity is life”. It showcases simple things you can do every day to preserve biodiversity: i.e. “eat organic”, “seek out a rare British food crop or animal, like Scottish Beremeal and support biodiversity by eating it”, “don’t mow your lawn”. There will be also a plethora of events run all over the country for the public. From the dodgy exhibition The Occurrence of Malformation in Amphibians (London 5- 31 March) to the hippie Bristol Festival of Nature (12–13 June).

The UN campaign for biodiversity preservation is well done. The UN have led to a multitude of national and local campaigns. By adopting some clear communication guidelines the UN incites the national actors to apply some basic communications tricks to foster awareness and behaviour change such as targeting audiences, being inspiring and translating the messages into practical actions. It’s tricky to assess the success of such planetary campaigns. The UN seems to be good at mobilising political and it’s a good thing that they delegate the task of communicating to citizen, to local actors. But who remember that 2009 was the International Year of Natural Fibres?

“It is hard to imagine a more important priority than protecting the ecosystem services underpinned by biodiversity. Biodiversity is fundamental to humans having food, fuel, clean water and a habitable climate.” Professor Georgina Mace

The Dieter Rams ‘Less And More’ exhibition at the Design Museum in London
(18 November 2009 – 09 March 2010).

When visiting that exhibition last Sunday I was stunned by the sustainability avant-gardism of Dieter Rams.
Rams is a German designer who served as head of design for Braun from 1961 till his retirement in 1995 and is today considered as “one of the most influential industrial designers of the late 20th century by defining an elegant, legible, yet rigorous visual language for its products.”
More than twenty years ago, the icon designer has established “10 Principles of Good Design”. His innovative vision of design makes him one of the precursors of industrial sustainable design. Indeed Rams’ products integrated sustainability and durability years before these issues became inevitable and essential for industrial designers (?)

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It’s a fact: Climate change communication can sometimes be dim and dull. Few communication campaigns succeed in reaching their targets, raising awareness and sparking off a reaction. Add to this that many campaigns are aiming at hitting an unidentified and obscure target known as “the people”. Defining your target, digging into its aspirations, motivations and the channels to reach it, is the preliminary step of any successful communication campaign.

This task can be even harder when you try to reach an audience which defines itself as “not mainstream” and is fighting hard not to be labelled or targeted. But this is exactly the challenge that Greenpeace and the Blacksmoke art collective tackled when they set up a project to communicate climate change issues to the British underground “scenesters”, a young British sub-culture group (“urban middle class adults and older teenagers with interests in non-mainstream fashion and culture” –Wikipedia).

The Danger Global Warming Project is an independent multimedia initiative aimed at raising awareness around climate change issues through the medium of art and digital media.  Artists from all over the world were asked to incorporate Greenpeace’s black and yellow warning tape motif into artworks of any forms. As a result, multimedia pieces of art (video, image, installation…) were submitted from all over the world.

The collective has efficiently dug into its audience culture to highlight its motivations (the hunt for exclusive arts) and aspirations. The campaign features sharp music bands like Utah Saints and underground stars such as Bruce LaBruce and Billy Childish; artists few people know, but icons for the British underground scene. Blacksmoke is going against a majority of climate change campaigns that feature global celebrities such as Leonardo Di Caprio, thus aiming at reaching the wide majority of “people”.

Blacksmoke aim at creating a buzz in the British underground scene and on the internet. Visuals and clips are relayed on the web through Facebook, MySpace, and YouTube etc.

One can however question the efficiency of such an unconventional campaign. Indeed the use of alternative artists pushes the target audience to focus more on the communication channel than on the actual message. Just flick through the comments posted underneath the pieces of art on the internet and you will see that the majority of posts are actually more interested in the artistic happening than in the message conveyed.

The campaign manages to reach its target audience (get a foot in the door) but actually fails to transmit the message (pass the door) and therefore inspire action. This observation leads to the question to what extent climate change communication can be tailored to an audience’s motivations and “scene” without dissolving the message in everyday life inspirations.

As an example of the material featured in this campaign, you can watch below the Danger Global Warming tune, remixed by Utah Saints and video clip by Alexandre Athane, “As an allegory for recycling, influential musicians and DJ’s from around the world are remixing the official Danger Global Warming theme tune, featuring lead vocals by Hugh Cornwell and a 35 piece orchestra”.

Caroline Martinot