On June 23, 1988, Dr. James Hansen, then Director of NASA’s Goddard Institute for Space Studies, testified before the
United States Senate Committee on Energy and Natural Resources that our planet was warming — and that the principal cause was the accumulation of anthropogenic (produced by humans) greenhouse gases.
In the decades since, multiple independent lines of evidence have established with high confidence that Earth’s climate is warming and that the dominant driver is the combustion of fossil fuels, which releases carbon dioxide, methane, and other heat-trapping gases into the atmosphere.
While the overall warming trend is unambiguous — global mean surface temperature has risen by approximately 1.1 °C since the late nineteenth century — the precise rate at which future warming will accelerate depends on both human emission pathways and the strength of climate-system feedbacks.
These feedbacks include, for example, the loss of reflective sea ice, the release of additional greenhouse gases from thawing permafrost, and changes in cloud cover. Although the magnitude and
timing of these feedbacks remain active areas of research, the scientific literature consistently indicates that they will, on balance, amplify the warming already under way.
Ice cores from Greenland and Antarctica possess distinct layering where seasonal snowfalls compress to form ice with identifiable chemical and physical characteristics. Annual layers in ice cores
are distinguishable through visual stratigraphy, dust content, electrical conductivity, and stable-isotope ratios (δ18O and δD).
These layers permit year-by-year or, in some intervals, season-by-season chronologies extending back more than eight hundred thousand years.
Greenland ice cores — most notably GRIP, GISP2, NGRIP, and NEEM — record approximately twenty-five Dansgaard-Oeschger (D-O) events between about 110,000 and 11,700 years before present. During each event, Greenland surface temperatures rose by roughly 8 °C–10 °C (≈ 14 °F–18 °F) within decades.
The Younger Dryas termination, circa 11,700 years ago, is a well-studied example, with Greenland warming estimated near 10 °C in one to two decades.
These temperature jumps reflect conditions over the North Atlantic region. Global mean temperatures rose much less because the abrupt changes involved climate-system reorganizations (ocean circulation, sea-ice extent) that strongly affected Greenland but were partially offset elsewhere. Antarctica exhibits corresponding events, called Antarctic Isotope Maxima, but the temperature swing there is smaller (typically 2 °C–4 °C) and occurs out of phase with Greenland, consistent with the bipolar-seesaw mechanism.
This data indicates that there have been at least twenty instances where Earth’s climate changed by roughly 15 °F (8 °C) within a ten-year period — long before recorded history.
The Present Context
As of October 9, 2020, atmospheric carbon dioxide measured 408.55 ppm (parts per million); by January 26 it reached 412.96 ppm — the highest concentration of this critical greenhouse gas
in three million years. At that time, our planet was nearly five degrees Fahrenheit warmer, and sea levels were thirty-two to sixty-five feet higher than today.
Governments and human beings possess neither the experience nor the technology to sustain life as we know it under conditions of rapid and unprecedented change.
The Role of Art
Scientists are not artists. The precise reporting of painstakingly gathered information is the realm of science. The artist, however, can bridge the divide between science and the public through
creative storytelling — transforming knowledge into empathy and action.
About the Course
Abrupt Climate Change (ACC) is offered to students who are interested in understanding the impact of a rapidly changing climate upon their lives and communicating this information to society
through artistic media of their choice. To prepare for an increasingly uncertain future, students hear from academic experts in business, law, and the mathematical, physical, and social sciences, and then
create artistic responses to humanity’s greatest existential threat.
If you are interested in learning how to think about — and prepare to thrive within — a changing climate, this class is for you.
This is the second in a series of related courses unique to Tisch and neither competes with nor replicates existing classes. Abrupt Climate Change is open to all NYU students.
Peter Terezakis
Associate Arts Professor, Tisch School of the Arts – NYU
“Failing to Prepare is Preparing to Fail.”
— Benjamin Franklin, 1706–1790
As of June 19, 2019 clicking on the image below will bring you to the NYC DEP form to report idling vehicles. You also have the option of following the instructions to collect a percentage of the fine in exchange for helping all of us to breathe a little easier – and to change our culture for the better. Click for the anti-idling website.
Active denial of these issues has become the de facto cultural standard with only a fraction of the public taking action.
This course examines environmental issues through discussion, experimentation, field trips, lectures, and speaker presentations, as well as celebrating key individuals — who have helped to shape local, regional, and global environmental discussions for the better.
Our class’s challenge is to encourage artist-storytellers to focus their passion and skill into an existing environmental narrative of their choosing. Your challenge is to create a final project which you will share with the public as a method to help create meaningful, positive social change.
Green World is open to all NYU students interested in helping to improve and preserve the environment which sustains us all.
Examples of some work produced by students of Green World:
Climate Refugees:
“Inspired by the work of Garth Lenz to educate about the disastrous extraction of oil through the Alberta Tar Sands, which we viewed in class, I decided to structure my presentation around the wealth of powerful photojournalism exploring the impacts of climate change and utilize the arresting power of the visual medium. Something about the profound depth of Garth’s photography and his patient willingness to walk through the myriad of questions inevitably evoked by the images struck me as so effective, and the influence in my own presentation is clear.” — Parsa Taheripour
Hollywood-level productions in the palm of your hand. That is what this combination of lectures, screenings, demonstrations, and practical production workshops will offer to the students in this course. There will be several professional guests making presentations and Q&A sessions from the mobile phone filmmaking industry. In addition to the historical and critical overview of the emergence and exponential growth of global cell phone cinema, students will shoot all footage on cell phones and download it for computerized editing. The final project will be a three-minute short film.
Projects are open to any genre of film and television including animation, drama, mini-documentaries, music videos, narrative, and news. Completed student projects will be posted to the class website, screened as a final project, and be eligible to enter into domestic and international mobile phone film festivals. Past Bollywood-style music videos shot on cell phones by students in this class were screened in a theater at the Tribeca Cinemas as part of the New York Indian Film Festival.
All art uses technology. Technology is not art. Whether a work of art is created to bridge the preternatural, convey experience, thought, a world view, or something more, art is a three letter verb representing the result of an individual’s rebellion against the status quo and the desire to create something different.
This course is a crash course into contemporary technological literacy for all NYU students interested in expanding their range of artistic mediums, often using the history of art and technology as a point of reference. Prior knowledge of covered subject matter is not required, but would create an opportunity for deeper exploration by the student and enhance the classroom experience for others.
By course completion a student will be able to author digital media (audio, photos, and video), work alone, build a website, read a compass, print an image, publish content on their website, access their imagination, secure their data, invent a product, use FTP, tie a bowline, keep a door closed, use photoshop, make a dust mask, work with others, laser cut shapes, make paint, bias a transistor, code in Assembler, collect and visualize data, create vector files, tie half hitches, write a press release, build a battery, 3D print an object, build a circuit, tie a square knot, program a micro controller, use a pinhole camera, solder a wire, understand branding, privately publish content, lash a tripod, distinguish between vision and perception, code HTML, make glue, use a multimeter, understand AR-VR, and projection map video.
Documentation of finished projects are due on a weekly basis many of which will be worked on when we meet.
To mark the fiftieth anniversary of the Tisch School of the Arts, I produced a series of fifty video interviews with faculty whose ideas, artistry, and mentorship have shaped Tisch’s creative community for generations.
Each conversation offers a glimpse into the passions and philosophies that define Tisch’s influence on film, performance, design, and emerging media. The project honors the School’s founding spirit — one rooted in collaboration, curiosity, and artistic innovation.
Highlight: Martin Scorsese
Among these sessions was a rare opportunity to interview, light, and film Martin Scorsese, whose reflections on craft, mentorship, and cinematic storytelling reveal both the discipline and compassion that have guided his extraordinary career.
Below are three versions of the interview, each offering a different perspective on his insights and approach to filmmaking:
The average person takes between 17,000 and 23,000 breaths daily, depending on age and health. It is axiomatic that our atmosphere is essential to life and should not pose a risk to our health.
According to the World Health Organization, 92% of the world’s population breathes polluted air. There are 1.2 billion cars on the road today, 2 billion projected for 2035, 1446 operating coal-fired power plants, and an additional 2291 coal-fired plants either under construction or in planning stages. In NYC alone, there are over a million buildings, each burning fossil fuel to warm people who live or work within them. All those chimneys and pipes are pouring combustion by-products into the air we breathe, which affects the health and well-being of all.
It is up to each person to protect the air that sustains life on our planet.
The Air We Breathe was comprised of special guests who spoke from their expertise to help us see the unseen, learn about the effects of inhaling combustion by-products, and discuss what might be done today and tomorrow to help safeguard the health of you and your family: Garth Lenz fine art photographer, Fred Ritchin, Dean of the International Center of Photography, Dr. George Thurston Professor of Environmental Medicine, Dr. Maureen George PhD, RN, AE-C, FAAN, Deborah Goldberg, Managing Attorney, Earthjustice, Eric Weltman, senior organizer Food and Water Watch, and filmmaker George Pakenham, Idle Threat.
The panel presentation was followed by a question and answer period.
