EBOOK
About
The major look at the environmental impact of the music industry and a brilliant exploration of how musicians are thinking about and being influenced by the climate crisis
Everywhere you look, music is changing-overhauling itself in response to climate crisis. There are records made of plants, stereos that run on sunshine, streaming services powered like hot springs. There are nonprofit and investment initiatives geared toward environmental concerns. There are sector-specific carbon calculators, literacy programs, and organizations that are sizing up (and drawing down) the environmental impact of music on every level. Top to bottom, we are witnessing a climate-oriented transformation of what music is and how it comes to be. Kyle Devine is dean of graduate studies at the University of Winnipeg and a former professor of music and environmental humanities at the University of Oslo. He is the author of Decomposed: The Political Ecology of Music, a human and environmental history of the recording industry. The book attracted international media attention, leading to an op-ed in the Guardian (200,000 people read the essay within the first week of publication) as well as interviews and coverage around the world.
Everywhere you look, music is changing-overhauling itself in response to climate crisis. There are records made of plants, stereos that run on sunshine, streaming services powered like hot springs. There are nonprofit and investment initiatives geared toward environmental concerns. There are sector-specific carbon calculators, literacy programs, and organizations that are sizing up (and drawing down) the environmental impact of music on every level. Top to bottom, we are witnessing a climate-oriented transformation of what music is and how it comes to be. Kyle Devine is dean of graduate studies at the University of Winnipeg and a former professor of music and environmental humanities at the University of Oslo. He is the author of Decomposed: The Political Ecology of Music, a human and environmental history of the recording industry. The book attracted international media attention, leading to an op-ed in the Guardian (200,000 people read the essay within the first week of publication) as well as interviews and coverage around the world.