The Ecology of Empire: Wal-Mart's Rhetoric of Environmental Stewardship and the Constitutive Power of the Multitude

This essay provides a critical account of Wal-Mart's rhetoric of environmental stewardship. By situating this discourse within a new political economy of production and governance that Michael Hardt and Antonio Negri have termed empire, I argue that environmental communication scholars should limit the rush to deploy ideological criticism when explaining the corporation's rhetorical motives. Instead, I advocate reading Wal-Mart's rhetoric as a problem of historical conjunctures, a critical move that seeks to highlight, not only the structural interests of capital, but also the centrality of social antagonism. In the case of Wal-Mart, this means accounting for the increased significance of demand to economic production, changes in the composition of sovereignty, and the transgressive function of environmentalism at the beginning of the twenty-first century.     

The Country,the City,and the Corporation: Rio Tinto Kennecott and the Materiality of Corporate Rhetoric

Contributing to extant discourses about corporate environmental advocacy, this paper argues that corporations can embed discursive rhetorical strategies in material places and spaces. This argument contributes to environmental communication by bridging divisions between discursive and materialist approaches to corporate rhetoric. Corporate materiality is realized in the study of Rio Tinto Kennecott (RTK) at places of corporate community where RTK enunciates a dominant environmental discourse about the necessity of the Bingham Canyon Mine through strategies such as the technological shell game, the hypocrite's trap, and corporate heterotopia, which are made manifest materially alongside cultural values such as epistemic trust, technological progress, community, and home. Using participatory critical rhetoric as a methodology, I analyse RTK's material rhetoric at the Natural History Museum of Utah, the Rio Tinto Soccer Stadium, and the Daybreak suburban community. This case study reveals that corporations are assemblages that assert many different, and sometimes competing, arguments that can deflect environmental criticism, materially.     

The Circulation of Climate Change Denial Online: Rhetorical and Networking Strategies on Facebook

This study uses a topical, rhetorical approach to analyze how climate change denial circulates online through the 25 most popular posts on the Watts Up With That and the Global Warming Policy Forum Facebook pages. These groups adopt the appearance of credibility through reposting and hyperlinking, thus establishing a supportive, networked space among other skeptical sites, while distancing readers from original sources of scientific information. Visitors use a variety of rhetorical strategies to echo posts’ main themes and to discredit alternative viewpoints. Differences between the topoi and rhetorical strategies of WUWT and the GWPF show that the climate change denial community is multifaceted and makes use of social media affordances to craft the appearance of legitimacy. This project contributes to our knowledge of how scientific information is co-opted, manipulated, and circulated in online spaces and how online features shape environmental discourse practices.     

Contemporary Environmental Art in China: Portraying Progress,Politics, and Ecosystems

Art has long been an important force in environmental movements. In China, environmental art is a fast-growing sector of the art scene. This new area of emphasis is expanding the function of art and aiding in China’s environmental movement by challenging both imported Western practices and Maoist era philosophy, thereby opening up new ways of considering the relationship between human “progress,” political systems, economic practices, and their repercussions on existing ecosystems. I turn to artist Xu Xiaoyan’s paintings to explore how the notion of “progress” can be challenged through art. I use Deleuze and Guattari’s theory of deterritorialization and reterritorialization to map how Xu’s art offers viewers space to think outside dominant paradigms, creates the potential for changes in human consciousness, considers the environment as a composition of relationships and interactions, and provokes discussion concerning the impact of linear notions of time on human conceptions of nature.     

From Narrative of Promise to Rhetoric of Sustainability: A Genealogy of Oil Sands

Since its conception, “oil sands” has been the name of a pro-development narrative seeking to convince skeptics that bitumen saturating the sandstone of Alberta’s Athabasca region ought to be extracted and chemically altered into Synthetic Crude Oil (SCO). Over the decades, the nature of skepticism has changed, and thus oil sands (along with its meanings and claims) has been continually reproduced so as to placate new criticisms. This paper offers a discursive genealogy of the oil sands narrative, demonstrating how it has been transformed from what was throughout the twentieth century a materially situated “narrative of promise” aiming to prove that SCO production was physically possible and that it could be commercially profitable, into what by 2015 was at its core a largely reactive “rhetoric of sustainability” aiming to convince a new class of critics that, contrary to their claims, SCO was in fact being produced in an environmentally responsible manner.     

Mounting Tensions: Materializing Strategies and Tactics on National Park “Social Trails”

This essay builds from Samantha Senda-Cook's 2013 article, “Materializing Tensions,” to explore the material rhetorics of the so-called “social trails” of the Apostle Islands National Lakeshore. These improvised, foot-worn pathways, diverging from and running alongside official Park Service trails, materialize a tension between what Michel de Certeau termed “strategies” and “tactics,” revealing how both are always at play in park and preserve trailspace and how the movements of the individual trail walker actualize and perpetuate a common concept of place. The study demonstrates and advocates close rhetorical attention to material aspects of the biophysical environment and the way that physical traces of many individuals over time can influence the subsequent actions and interpretations of others. The final discussion argues that as further tensions in trailspace rhetorics are identified rhetorical analysis must not fail to account for them.     

The risk/no-risk rhetoric of environmental impact assessments (EIA): the case of offshore wind farms in Sweden

Risk is a key topic in the communication between developers of infrastructure projects, permit-granting authorities, and civil society. The nature of risk communication is contested among academics, however. Whereas some scholars conceive of risk communication as a matter of effectively communicating expert knowledge on factual matters to the public, others emphasise the role of symbolic construction and rhetoric. This article analyses how wind farm developers rhetorically construct risks in relation to the environmental impact assessment (EIA) for a large offshore wind farm project. Our analysis is inspired by the New Rhetoric, the theory of argumentation developed by Perelman and Olbrechts-Tyteca (Traité de l'argumentation – la nouvelle rhétorique, Brussels: Éditions des presses de l'université de Bruxelles, 1958). We suggest that the EIA adopt a dual argumentative strategy. The report associates numerous risks with the project by identifying and cataloguing them; however, these risks are also disconnected from the project by being described as nonexistent, negligible, or manageable. We discuss some implications of considering EIAs, not as accounts of reality, but as loci of production for this reality.     

Mobilizing Artists: Green Patriot Posters,Visual Metaphors,and Climate Change Activism

This essay examines the Canary Project's Green Patriot Posters campaign as activist art that collectively comments on the cultural coherence of our current relations to the environment, particularly in terms of global warming, sustainability, and the concept of linear economic growth. Aspiring to bring together artists under the eco-activist umbrella, the Canary Project relies on an old WWII-inspired frame with a narrow premise of that period's conservation efforts. Within this framework, a range of visual designs question, subvert, and promote continued economic growth and an ontology that “more” equals “better.” An analysis of the up–down orientational metaphors underscores a typology of these valuations and reveals one way to assess implications of such artistic efforts. That is, artistic expressions adapt and play with the contingent nature of metaphors, offering elaborations, extensions, and alternatives on basic structural elements and, hence, remark on how we orient ourselves and productively imagine being of/in the world anew.     

Queer Beasts: Ursine Punctures in Domesticity

In 2006, Bruno the bear wandered onto German soil—the first brown bear in 170 years—where he was shot, killed, taxidermied, and put on display (his presence recently resurfaced due to the 2010 Wikileaks). Bruno served as a queer beast in the anthropogenic landscape where he challenged boundaries of what is permissible, and normal. By refusing to honor borders and cultural norms, he disrupted our human sense of control of the landscape. In response to Bruno's unruly presence, humans in turn appropriated him, fixed him as a cipher to fill with their own constructs of wildness and animality, and then deployed those cultural articulations. Performing a critical visual analysis, this paper explores how the anxiety Bruno evoked fixed his queer, hirsute frame as a taxidermied cipher representing discipline, fetishization, and a critique of power. Bruno became an imaginary wild whose presence rhetorically queered the geographical and political landscape.     

Eliding Extraction,Embracing Novelty: The Spatio-Temporal Configuration of Natural History

Natural history museums present fertile ground for considering material configurations of “nature” and “history.” This essay analyzes the Natural History Museum of Utah at Rio Tinto Center (NHMU) to explore how spatio-temporal configurations of nature and history may paradoxically elide the deep time of natural history. Primarily considering its naming and its spatial placement rather than the impressive collections it houses, I identify spatio-temporal distortions related to three elements of the NHMU: its naming after a multinational mining company, its architectural attempt to represent iconic landforms, and its imposition on a heretofore-undeveloped parcel of land. Taking these distortions in sum, I argue that the museum, which is meant by its architects to be in harmony with the land, elides rather than harmonizes with the land that produced its collections by replacing ancientness with novelty and by conjoining extraction and education. This elision, performed by a building purported to embody the full depth of time, may flatten the deep time of the geologic past, thereby abetting the concealment of the ever-expanding extraction.