So says the science, if you extrapolate it correctly, and any properly
developed intuition agrees.  Here is the paper that made me think
about this:

http://www.rotman.utoronto.ca/facbios/file/Green%20Products%20Psych%20Sci.pdf

The authors are using the concept of "compensatory ethics", which
finds people acting as if to maintain a constant ethical level by
following good deeds with bad and vice versa.  They have all manner of
empirical evidence and can graph ethicality like a stock price,
showing everyone to be in a constant jitter of fall and redemption.

In this particular paper they look at environmental choices.  It's all
about consumption and exposure, but these are the times we live in:
they're psychologists in business schools.  What they find is that
when somebody *invests* in an environmentally sound choice -- for
example, buying expensive green branded detergent -- that person
switches to being mean and deceitful for a while.  Meanwhile, people
who actively make environmentally bad choices (budget detergent)
compensate with a period of kindness and honesty.

Extrapolating to art is straightforward.  If you make a work that is
supposed to engender environmental awareness (or any other form of
goodness) then you feel entitled to behave dreadfully for a while.
The research only looks at simple sins like lying and thieving, but it
is not improbable that art-related compensatory behaviour might
manifest differently.  You might, for instance, become snobbish or
boring while making the work, or concentrate your wickedness in the
environmental realm by flitting round the world as a busywork
extension of your practice[*].  Further research upon artists is
likely necessary, because as a group we show (or, you could say, are
essentially defined by) atypical responses to economic stimulus.

To complicate things, the study found that people's goodness increased
in proportion to the amount of green stuff they refused to invest in.
That is, if you buy non-green detergent from the organic shop, your
ethics improve more than if you buy it from pak'n'save.  The
propaganda you resist is the propaganda that sticks.  Transferred to
art, this means that the behaviour of the audience of environmental
art *will* improve, provided they don't feel any commitment to it (by
payment or participation, for example).  So that is the riposte to the
obvious contrarian position of making art that encourages waste and
disaster: while the recoil affects you negatively vis-a-vis your
message, the persuasion affects others positively.  Whether these
effect balance each other is presumably a function of the audience
size.

What then should an environmentally concerned artist do?  Pump out
wholesome work and accept that, as well as your practice seeming a
little bland and preachy, you will in counterbalance become ethically
contemptible?  Or should you ignore the issue and avoid reading dodgy
research?  Or use said research in the quest for a true and useful
answer?  Or can you make environmental art without thinking you are
doing good (and if so, why are you doing it)?

This will look suspiciously convenient, but I can work an ad in here.
The theme of ADA's next symposium (Whanganui, 10-12 December, lunch
provided, extraordinarily cheap) is approximately "energy", which is
of course the central environmental concern these days.  You could go
to it and help work these things out.  The website at
http://symposium10.aotearoadigitalarts.org.nz/ tells you all you need
to know.  (Beware, though, that the transport section encourages you
to travel by bus, train, bicycle, or boat, without consideration of
your subsequent compensatory behaviour).

Honestly, though, the ad is just fortuitous and I am interested in
your reactions to the preceding arguments.

Douglas


Notes:

[*] Actually, you *should* fly on planes to other places.  There is
nothing better.

[+] By "environmental art", I of course mean all art concerned with
environmental issues, not just those narrower definitions of art that
happens to be out in the wops, or that lays claim to sustainability.
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