This
is truly an ethical spectacle, yet it is very different than the
spectacle of An Inconvenient Truth.  A rock concert, first of all, can
never be as didactic as a documentary film.  However, little in the
world is so deeply rooted in spirituality than music.  Whereas you’ll
never learn a whole lot from a music event, it will probably touch you
at a more fundamental level than a documentary ever could.  A music
event alone, however, doesn’t constitute spectacle.  But one on this
scale surely does.

Besides the largeness of the event and the
spiritual significance of music, there are other aspects of Live Earth
that are promising.  The event will be held in 7 continents on a date
represented by three sevens.  The significance of this seems entirely
manufactured, but the effect is as if there was some deeper meaning
than just dates and numbers.  There will be over 100 performers and,
judging by the marketing from Live Earth’s partner MSN (unfortunately), viewers will be able to watch any of the acts live on the internet.

The
upshot is we have a spiritual event of mythological proportions (has
there ever been anything so big?) where individuals get to participate
at their discretion from their own homes.  It’s nearly the perfect
synergy of myth, inclusiveness, and connectedness that a fully-realized
ethical spectacle calls for.  Perhaps this is the type of thing that
only someone like Al Gore can pull off, but in my search for more
spectacles in support of sustainability, I see the beginning other, more bottom-up movements that have the requisite mythological undertones,
promote inclusiveness and individual control, and advance
connectedness and sustainability.  I will discuss these movements next time.

Al Gore and his documentary, An Inconvenient Truth, are also mentioned
in the Slate article.  In a way, Al Gore’s personal story is similar to
the
hero myth–The underdog suffers a humiliating defeat and disappears
from the public eye for a
period of time, presumably to reflect and learn, and then returns to
share what he’s learned in the hope of helping the world.
His documentary is a true example of the type of spectacle Duncombe
describes.  The film juxtaposes Gore’s personal story with the story of
the planet.  The shared mythological undertones demonstrate the
connectedness of
the planet with human life and the uniqueness of humanity.  Yet, for
better or for worse, the film plays on our darker emotions such as
fear.  How powerful fear is!  A point reiterated by the chilling
spectacle of Gore raising himself up on
a lift to show us how carbon dioxide levels are literally off the
chart.  He shocks us with before and after pictures of receding
glaciers and then asks us to imagine what will happen if our sea levels
rise 20 feet.

Clearly, spectacle can be a
powerful way to promote whatever ideas one wishes to further, provided
that in some way the spectacle is tied to
mythology and our collective dreams.  Duncombe might call a spectacle
like one that promotes sustainability and environmentalism an ethical
spectacle, one that furthers inclusivity and openness as opposed to
hiding the truth, one that perhaps removes fear from the equation.

I sometimes feel a mythological and dreamlike connection to the
natural enviroment which I attribute to growing up in the foothills of
the
Adirondack Mountains so I feel there must be a better way to affect
change in the way we live without resorting to scare tactics.  Fear
seems to add fuel to the political fire for an issue that I would like
to see less politicized.  Perhaps the ends justifies the means, but I’m
looking for signs of a different kind of spectacle.