OPEN LABORATORY 2009
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Rigor Vitae: Life Unyielding
In my work, I nearly always try to deal with truths of natural history, but different truths call for different approaches. More often than not, the approach is a direct sort of story-telling that's not difficult to understand. When I invent a situation I've never seen nor heard of, biological credibility is an important consideration. The initial idea of this painting, African Softshells basking on a Hippo, is just such a situation, and the placing of my protagonists on that platform was done with a clear conscience. Although they spend a great deal of time basking, I don't feel that this static activity defines softshells' essence well at all. The painting called for fury and for speed, so I set the whole thing in motion, in that instant of my initial basking concept's irrevocable replacement with an absent hippo and the turtles returned to their brisk native depths. Caught in midair, the main subject's placement strains the limits of credibility, especially considering the fact he'd be more likely to favor a quick downward slide. In placing him, I tried to find the highest conceivable point such a reptile could reach if all factors of friction and inertia could be favorably aligned. The entire composition is built around enforcing the painting's movement: the surface ripples, the Papyrus stems, the flock of St. Helena Waxbills, and a mysterious arc of water all cooperate in a scene theoretically possible, yet so unlikely as to disqualify it as an illustration of animal behavior. But is it a betrayal of my “natural history truth” objective? I answer with a firm “No.” Exaggerated, contrived and skewed, I could never create a painting containing more truth about African Softshells.
1. Attempting to bar research conflicting with their own from peer-reviewed journals.
2. Hiding incriminating evidence.
3. Manipulating data showing a cooling trend to make that trend disappear.
Without going into depth, I'll just say that #1 was clearly discussed, although there's no evidence any action was ever taken. The evidence for #2 looks fairly damning—exactly what was deleted and what, if any, rules were broken remains unclear, at least to me. Jones says it was done out of frustration with a deluge of FOI requests that were impeding the actual work of the laboratory. The evidence for #3 is extremely weak, and can be interpreted in many ways. Overall, “Climategate,” as it's been dubbed, falls far short of discrediting any of the CRU's work, much less climatology in general.
I hope you can take the time to read the Daily Mail article along with the original interview it claims to describe.
While the Daily Mail headline states that Dr. Jones “admits there has been no global warming since 1995,” what he clearly says is that the data for that period are insufficient to make statistical sense of. Imagine a white wall with three small chips in its paint. Two chips show blue paint underneath, one shows red paint. Your data suggest that more of the wall is blue than red, but you have no idea what the true ratio is. This is the climatologist's dilemma. The CRU data appear to suggest a small warming trend from 1995 to the present and a small cooling trend from 2002 to the present, but they have no idea what color that wall is. (Data from other groups, such as the Goddard Institute for Space Studies, show slightly higher temperatures, but are still statistically insignificant when isolated). The Daily Mail article also misrepresents Jones' statements about the “Medieval Warming Period” as well as incorrectly suggesting that the CRU's surface temperature data were used to assemble the paleoclimatic model represented in the famous IPCC “hockey-stick graph.”
It's hard to attribute the libelous errors in this article to a writer's inability to understand his subject. This isn't journalism, it isn't opinion. It's propaganda intended not to enlighten but to deceive. It's disheartening to see more and more of this from mainstream news organizations, and to realize that more eyes will read the bogus Daily Mail story than the interview it misrepresents. Climatologists simply try to understand the systems they study; it's plain to see from which side the real climatology hoax is perpetrated.
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illustration: LESSER FLAMINGOS (2005) oil on canvas 72" x 96"
Illustrating this post is a new painting of a Red-bellied Paradise Kingfisher (Tanysiptera nympha), one of six members of a New Guinean complex of streamer-tailed forest birds. It was in this region that Alfred Russell Wallace saw such simple island speciation and began to understand how it worked, just as speciation on the Galapagos awakened Darwin to the same ideas.
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illustration: RED-BELLIED PARADISE KINGFISHER (2010) acrylic on clay board 10" x 8"