• The Journal of Art Theory & Practice
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• no.13
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• Journal of English Language & Literature
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• v.57 no.1
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• pp.3-25
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• 2011

As extremes of climate such as heavy storms, rainfalls, and droughts tend to be routine in recent years, global climate change becomes a serious concern not only for natural scientists but also for scholars of the human sciences. Efforts to tackle the anthropogenic climate change certainly require not only scientific knowledge about it but also a new sociocultural paradigm for valorizing and respecting nature in its own right. The huge casualties and mass destruction caused by recent climate disasters also remind us that nature has been an important factor to bring about changes in human history-a fact largely ignored in traditional history. This again validates the ecocritical request to prioritize place, physical setting, or the relationship characters hold with the natural world in understanding literary works. In this context this paper aims to demonstrate the importance of the meteorological vision in creating as well as understanding literary and cultural texts by examining such works as Shelley's "The Cloud," Byron's "Darkness," Keats's "To Autumn," all produced during the period of dramatic climate change including "the year without summer." It also briefly discusses Roland Emmerich's 2004 movie The Day after Tomorrow as a way of understanding recent cultural responses to the crisis of global warming.

• Journal of Environmental Science International
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• v.29 no.4
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• pp.403-413
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• 2020

The purpose of this study is to understand the formation of internal wind paths of open space and its effect on meteorological factors and the generation of negative air ions. Various types of internal wind paths of open space were formed. Subsequently, changes in meteorological factors in each type were measured and the generated negative air ions were analyzed. The four key findings of the study are summarized as follows. First, the average wind speed formed inside the open space was analyzed such that the difference in wind speed was dependent on the difference in the composition of the wind path. Second, the negative air ion generation was observed to have the same trend as the average wind speed difference. Third, changes to the meteorological factors were more evident depending on the difference in wind path formation patterns. Solar radiation was expected to be highly affected by the physical structure (direction) of the target site. The relative humidity was found to show large difference depending on the different wind path type; however, this difference was significantly reduced when converting to absolute humidity. Fourth, it was found that the wind path formation type of open space affects meteorological factors through path analysis, and the changed meteorological factors affect the amount of generated negative air ions. Two conclusions can be obtained based on these results. First, the changes in internal wind speed formation of open space directly reduced the amount of generated negative air ions. Second, the changes in wind speed affect meteorological factors as well as the amount of generated negative air ions.

• Journal of Environmental Science International
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• v.29 no.6
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• pp.623-631
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• 2020

This study analyzes the effect of negative air ions on the concentration of airborne particulate matter and evaluates the expected purification efficiency of open spaces for particulate matter by investigating the amount of negative air ions generated by plants. This study establishes a negative air ion generation treatment environment, plant environment, and control environment to measure the purification efficiency of particulate matter under the conditions of each, analyzing the expected purification efficiency by designing a particulate matter purification model. Results show that the amount of generated negative air ion according to environment was negative air ion generation treatment environment > plant environment > control environment; this order also applies to the particulate matter purification efficiency. Moreover, it took 65 min for the negative ion generation treatment environment, 90 min for the plant environment, and 240 min for the control environment to reach the standard expected purification efficiency of particulate matter concentration of 960 mg/㎥ for PM₁₀. For PM_2.5, with the designated maximum concentration of 700 mg/㎥, it took 60 min for the negative ion generation treatment environment, 80 min for the plant environment, and more than 240 min for the control environment. Based on these results, the expected purification efficiency compared to the control environment was quadrupled in the negative ion generation treatment environment and tripled in the plant environment on average.