SOLUTION: University of Missouri Kansas Responsible Citizenship & Climate Change Discussion

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I uploaded a document where there is the different post. you should respond to one post on
TEAM A and one post on TEAM B. One paragraph for each response

Take the time to read what others have posted so that you can respond instead of
repeating what already has been said.
Your respond should be clear, concise, and to the point.
Use specific examples or quotations when possible to support your claims and cite them
according to MLA style, which requires you to insert a page number in parentheses in
your commentary when you refer to or quote from a text.
The main goal is to have meaningful discussions that address important issues, but to do
so in a short format that is engaging to everyone.
Team A
Positive Realizations
Previously, I had thought that most tasks and jobs could be completed entirely through
individual effort. This was likely due to a lack of understanding the importance behind
collaboration and diversity. Going through engineering school, I realized that working
together to help others is very important in this field. Many projects and presentations
supported this idea. However, I had not come to the realization that most careers and
jobs provide a substantial benefit when there is greater participation. Gotham’s article
pointed out that, “until 1968, no African Americans served on the school board, and the
racial composition of the board remained predominantly white throughout the 1970s”
(Gotham 20). This exposes the lack of combined effort among races to accurately
portray equal representation. When the power spreads and diversifies, then change
follows. If different minds work together, then solutions are created that take many more
angles and perspectives into consideration. This fundamental value has been more
commonly seen throughout the history of the United States and will hopefully continue
this trend of inclusion and unity.
Prior to this class, citizenship had no connection to responsibility. As long as there isn’t
a law being broken, people should be able to do as they please. However, this class
has proven time and time again that civic learning and civic duties play a great part in
creating positive change. “A constricted view of civic learning would produce citizens
with too little knowledge or too few skills to be informed and effective participants in a
diverse democracy” (Musil 4). With a lack of communal education, there is a disconnect
between people and their power. The only way to develop this is through self culturing.
Once out of all schooling, there is an absence of traditional learning and developing
unless individually sought out. This is where it is crucial to continuously strive for a
better understanding of social issues and injustices. A sense of awareness towards
these problems will provide urgency for society to step up to finding solutions.
My collegiate experience has truly impacted my understanding of responsible
citizenship as well as collaboration. My prior understanding of what it meant to be a
good citizen was to vote, respect other people’s rights, and being proud of your nation.
These are important attributes of a citizen, but they hardly scratch the surface of what
good citizenship means. As Musil describes, having proper civic duty entails
having “Historical and Sociological understanding of several democratic movements,
US and abroad.” (Musil 5) Part of the collegiate experience is learning from those
around you. My college peers have enlightened me with new perspectives and have
challenged my views. They have shown me that being a good citizen means
understanding the current state of your country and recognizing the good and the bad.
Working to fix the country’s shortcomings is just as, if not more, important as having
national pride. My definition of good citizenship has also been influenced by my medical
education. Fundamentals of Medicine is a class that changed my perspective and has
shown me that being a good citizen is a requirement for being a good doctor. In
Fundamentals, we discuss the importance of recognizing and fixing the complex issues
that may affect patient outcomes and experiences. This class has shown me that
patient advocation extends to outside of the clinical atmosphere. In Eisenhauer’s “In
Poor Health”, she mentions that “morbidity and mortality rates for a number of causes
increased sharply among blacks […] blacks tended to have less contact with doctors,
less access to advanced treatment” (Eisenhauer 125) Addressing racial disparities in
medicine and advocating for access to healthcare for our patients are a part of both our
medical and civic duties.
I never really considered the importance of collaboration and always assumed that
working independently can allow for greater productivity and less distractions. My
college education has allowed me to understand the value of collaboration. A common
topic in Fundamentals is the importance of the healthcare team. A physician cannot do
it all, they rely on help from nurses, techs, hospital administration, etc. That
collaboration is key to good patient outcomes because each member on this team
provides invaluable experience and information that the other members do not
have. Musil describes “seeking, engaging, and being informed by multiple
perspectives” and “collaborative decision making” as important skills for an individual to
be an effective civic agent. Working with others allows one to be exposed to new
perspectives and helps accomplish the overall goal.
Conveying Urgency with Art
Dunaway’s work, “Seeing Global Warming” explores the world of global warming
awareness through the medium of art. In her work, Dunaway explores the work of
several artists and galleries around the world whose goal is to raise awareness about
global warming. One of the main issues regarding awareness around this issue today is
how abstract and far away the threat seems. This pushes the issues to the back of
many people’s minds as it does not seem like a pressing issue. Dunaway writes, “The
problem, moreover, still feels so remote, so far away (in both time and space) as to
make it seem too abstract, a compelling scientific theory but not a concrete, experiential
statement of our everyday encounters with the environment.” (Dunaway 10) Because of
this issue, many people are not motivated to make a change or don’t understand that a
change is necessary. One of the main images associated with global warming today is
the image of a polar bear on a melting piece of ice. This image is used to try to spread
awareness out of sympathy for the polar bears and motivate people to make a change
in order to save the animals. However, I think this image could actually hurt the overall
goal which is to initiate a sense of urgency. While almost nobody would want to see
polar bears go away, they are not common in the average person’s life. With the
exception of going to a zoo or watching a nature documentary the average person is not
likely to see a polar bear in their day to day life. As terrible as it sounds, if polar bears
were to go extinct many people’s live would likely go on unaffected by this loss. This
doesn’t generate the urgency in the average person that is required to make a quick
and lasting change, like is required with global warming. In the article, Dunaway
discusses an art piece that takes a different approach than that of the polar bear
imagery. “Collaborating with a geologist and a hydrologist, Miss attached blue discs to
trees and buildings at a height that would indicate the expected water level during such
a disaster (see Figure 1)” (Dunaway 13) This art display showed passers by what it
would look like in their own area what could happen if a change is not made. This fearbased approach causes people to take the issue more seriously as they themselves will
be the ones who are affected.
Dunaway, Finis. “Seeing Global Warming: Contemporary Art and the Fate of the
Planet.” Environmental History, vol. 14, no. 1, [Oxford University Press, Forest History
Society, American Society for Environmental History], 2009, pp. 9–31
The Underlying Dangers of Climate Change
The article, “Seeing Global Warming: Contemporary Art and the Fate of the Planet,” by
Finis Dunaway depicts the relationship between modern day art and the implementation
of climate change to bring attention to the topic. The issue of climate change is not a
new idea; it has been strongly pushed in the past couple of decades. As we have seen,
the older generation has pushed the problem onto the younger generation with the
aspiration that they might consider taking more delicate care of the planet. While it is
very important for the younger generation to understand the problems they will face, it is
a considerably sad excuse for the generation that is currently in power. If those in power
today truly thought that the state of the planet was an urgent issue then they themselves
would start implementing solutions to get a head start. Rather than pushing it aside,
claiming the next leaders of the world will have the tools to fix it. Mierle Laderman
Ukeles wrote a letter that was given to children saying, “Can you forgive us? And, by the
way, can you tell us how to fix the environment?” (Dunaway 27). For children, this way
of thinking can be beneficial. However, this idea that the current generation cannot do
anything to fix, or begin fixing, the damage they have done, is fundamentally fiction.
Art has experienced a minor trend of expressing the detrimental effects of climate
change. In hindsight, this can encourage others to be the change. However, “Weather
Report differed from these other examples in its effort to forge perceptual links between
local and global environmental change and to use both doomsday and inspiring modes
of address in a dialectical fashion” (Dunaway 11). This doomsday tactic is not the
optimal way to create change. It was seen at the beginning of the COVID-19 pandemic,
creating mass tension and uncertainty throughout the world. The United States
experienced many shortages in goods, the oddest being toilet paper. This panic must
have been directly correlated with the, “end of the world” stigma, that the coronavirus
was given. Though COVID-19 was, and still is a very important issue that we all must
take into consideration while living our lives, having a positive mindset about the future
for humanity is a more beneficial way of looking at things for all people.
Seeing Global Warming: Contemporary Art and the Fate of the Planet
Author(s): Finis Dunaway
Source: Environmental History, Vol. 14, No. 1 (Jan., 2009), pp. 9-31
Published by: Oxford University Press on behalf of Forest History Society and American
Society for Environmental History
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Contemporary environmental artists are increasingly turning their attention to climate
change. Focusing on an exhibition curated by the renowned art critic Lucy R. Lippard,
this essay places selected works in dialogue with mass media framings of
environmental problems to reveal how contemporary art can generate new ways of
seeing global warming. I argue that the show sought to forge perceptual links between
local and global environmental change and to use both doomsday and inspiring
modes of address in a dialectical fashion. By melding science, aesthetics, and politics
in an imaginative way, many of the artists represented the humanistic dimensions of
the crisis and, at times, even gestured toward a promising vision of environmentalism.
“BE WORRIED. Be Very Worried.” So warned Time magazine in a 2006 cover story
on global warming. The cover featured what has become the most recognizable
image of climate change: a lone polar bear perched on floating ice, gazing
uncertainly at the surrounding sea. The polar bear’s iconic status can be gauged
by its frequent appearance in visual culture ever since. That summer, the
tremendous success of Al Gore’s documentary film An Inconvenient Truth brought
images of shrinking ice caps and vanishing glaciers to surprisingly large
audiences. In one memorable cartoon sequence, a polar bear tries, repeatedly and
unsuccessfully, to climb on chunks of melting ice. The animated creature seems
destined to drown. The next spring, for the cover of Vanity Fair’s second annual
“Green Issue,” the photographer Annie Leibovitz depicted Hollywood heartthrob
Leonardo DiCaprio standing on an Icelandic glacier, along with a digitally added
Finis Dunaway, “Seeing Global Warming: Contemporary Art and the Fate of the Planet,”
Environmental History 14 (January 2009): 9-31.
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image of Knut, a popular polar bear cub from the Berlin Zoo. Meanwhile, the
National Wildlife Federation now urges prospective members to support
conservation “by symbolically adopting a polar bear.” A donor receives a family
of stuffed polar bears in return for helping to prevent the ice from “melting …
beneath their paws.” Seeing global warming, so the argument seems to run, means
staring at the polar bear and wondering whether its fate may be our own.1
Still, though, for all the attention given to climate change, for all the honors
bestowed upon Al Gore (including, most recently, the Nobel Peace Prize), global
warming does not yet resonate with the public or most policy makers (in the United
States, at least) as a truly pressing issue that demands meaningful action now.
In a recent collection of essays, Creating a Climate for Change, editors Susanne
C. Moser and Lisa Dilling, together with over forty scientists, communication
scholars, and activists, grapple with this problem of how to communicate climate
change more effectively and, in the process, forge a compelling critique of global
warming discourse. To begin, many of them question the reigning assumption
that often guides climate change discussions: if people only knew more, if they
only had more information about the causes and consequences of global warming,
then they would be galvanized to take action. This belief clearly shapes Gore’s An
Inconvenient Truth, especially his effort to demonstrate the scientific consensus
concerning the seriousness of the problem and the role of greenhouse gases in
warming the Earth. As he convincingly explains, climate-change skeptics, aided
and abetted by the mass media, have deployed the concept of scientific uncertainty
to raise doubts and encourage passivity. Nevertheless, several contributors to
Creating a Climate for Change argue that information alone is not enough to
inspire an effective response. Even if scientists and global warming activists
overcome the obfuscating claims of uncertainty, they still must confront other,
more complicated barriers to action and should therefore reframe their rhetorical
These barriers, argues the political scientist David S. Meyer, make global
warming seem both “less urgent [and] less amenable to action … than virtually
anything else we can think of.” Climate change seems too vast and overwhelming:
the apocalyptic imagery associated with it, paradoxically, may foster complacency
and pessimism. The sheer scale of the problem may consign us to inaction,
convince us that there is nothing that we can do to ward off the terrible times
ahead. The problem, moreover, still feels so remote, so far away (in both time and
space) as to make it seem too abstract, a compelling scientific theory but not a
concrete, experiential statement of our everyday encounters with the
Perhaps, then, polar bears are part of the problem. While the imagery may
produce an icon of global warming and thereby raise awareness of the realities
of climate change, it also may block perceptual understanding of the humanistic
dimensions of the crisis. The pictures may also make it difficult to imagine
solutions, to envision a world that is not spiralling toward its inevitable doom.
It is with these concerns in mind that I recently visited Weather Report: Art
and Climate Change, an exhibition curated by the renowned art critic Lucy R.
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Lippard. Held at the Boulder Museum of Contemporary Art in Boulder, Colorado,
during the fall of 2007, Weather Report featured work by more than fifty artists,
who had, according to Lippard, “already addressed the subject of climate change
or were wholly involved in environmental issues and had made related work.”
Although most of the pieces were completed independently of Weather Report
and have appeared in other exhibitions, other works were commissioned by
Lippard especially for this show. Climate change has in fact become a minor trend
in contemporary art: from Alexis Rockman’s mural painting Manifest Destiny
(2004) to global warming-themed exhibits at such venues as the Andy Warhol
Museum in Pittsburgh. Yet Weather Report differed from these other examples
in its effort to forge perceptual links between local and global environmental
change and to use both doomsday and inspiring modes of address in a dialectical
It would be easy to dismiss Weather Report as a minor exhibition held at a
small art museum far from the leading centers of the art world. Some may even
chuckle at its location in Boulder: an affluent university town that New York Times
columnist David Brooks would mock as a place populated with latte-swilling
bourgeois bohemians. To do so, though, would be not only condescending but
also extremely shortsighted. Weather Report ventured beyond mass media
representations of global warming to recast the problem in a fresh and revealing
manner. By making Boulder and its surrounding region central to the exhibit,
the show demonstrated the power of place-based art to situate local ecologies in
global contexts. While the exhibit at times replicated the problematic notion of
individual blame for the environmental crisis, it also addressed power relations
often missing from environmentalist discourse. Weather Report, at its best,
gestured toward a promising vision of environmentalism, an emotive shift from
a politics based solely on fear and sacrifice to one based on hope and pleasure
It would be impossible in the space of this essay to summarize, let alone do
justice to, the work of the fifty-one artists whose work was displayed at Weather
Report. Rather than trying to offer a comprehensive review of the show, I will
take a selective approach, concentrating on works that most directly engage with
questions related to the th …
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