By Janet and Jane Tunde Kelleher
Introduction & Motivation:
Poll after poll, potential crisis after potential crisis, the class concurred that, on our current trajectory, humanity is doomed, and that societal transformation has the most promise to avert such existential crisis. Of course the five primary existential threats to humanity,- nuclear annihilation, environmental devastation due to climate change, rampant misinformation, the “revolt” of artificial super intelligence, and pandemics- are definitionally societal issues. They are borne of technological, economic, political, and social currents, difficult for the individual to comprehend, and virtually impossible for the individual to solve. That being said, in our own conversations about the class material we were drawn again and again to our personal contributions and reactions to each of the existential threats. While class discussion informed us of the interplay of sweeping sociopolitical, economic, and scientific dynamics in both driving and mitigating existential threat, we remained dissatisfied with our amorphous conception of our individual impact on and reaction to existential threat.
To provide brief justification, our concern for the individual conception of existential threat is in fact grounded in philosophy and science. Both intuition and substantial evidence point to illumination and coordination of individuals as a prerequisite for broader social improvement and risk mitigation. Firstly, individual contribution is at the crux of the philosophical and social movement Effective Altruism. Altruists such as Toby Ord and Peter Singer underscore the vast capacity of the individual to improve his world through relatively everyday actions. Ord, for example, posits that “amidst these grand questions and themes, there is room for everyone to play a part in protecting our future” (Ord 2021, 214). Secondly, while the existentialism in the vein of Kierkegaard has a strong religious component, the idea that the aesthete individual must commit himself to the ethical, and is arbiter of his own value, meaning, quality,- and to some extent, doom- through his actions, provides a basis for the efficacy of individual reflection and action in evolving towards a better form (Jakway 1998). Thirdly, neuroscience itself provides a pragmatic motive for enhancing individual conception of essential risk. Conception of threats can prime the individual for optimal response, and motivate individual action to mitigate these threats (Mobbs 2015).
Goals & Selection of Medium (Reasoning):
Having thus considered the power of individual consideration to realize the stakes and gravity of a situation, and to potentiate meaningful action, we sought to create a project through which we could 1) practice personal self-reflection and 2) evoke self-reflection by the viewer, with the intent that this reflection might actuate change in our own and the viewer’s behavior.
Our goals of 1) practicing and 2) evoking actionable self-reflection drove our selection of a medium. Our exhibition consists of five digital self-portraits (one for each threat) each with an adjunct song and brief explanatory text. Self-portraiture is suited to our goals because it is a mode both of introspection, in that the artist fashions herself in a certain likeness and often with telling surroundings, and of engagement with the viewer, who is inclined to interpret and interact with the artist’s self-portrayal. Art historian James Hall highlights the self-portrait’s unique ability to “induce . . . uncertainty in the viewer,” who asks, “Is the artist . . . judging us? Is the artist . . . judging themself? Is the artist creating a persona to serve specific ends? Or have they [created] a work personal in its meaning?” (Hall 2014, 13). Indeed our self-portraits invoke all of these modes as we convey both personal and/or institutional culpability for and response to the respective threats, and prompt the viewer to do the same.
We created the portraits by editing and integrating photos and drawings taken for the project, photos we had taken in the past, and photos of certain backgrounds and items sourced from the internet, in order to produce vibrant images akin to photo-realistic animation stills. The photos allowed us to incorporate concrete aspects, experiences, and items from our own lives to craft close-to-home depictions of doom that blur counterfactual speculation, realistic prediction, and genuine recount (Dunne and Raby 2013, 70). Meanwhile “cartoonizing” the images achieves generality to which a broad viewership might relate, and in some instances caricatures our complicity and/or cultural dumbing (Dunne and Raby 2013, 72). The vibrant colors, too, are intended to clash with the disturbing scenes, thus rattling the viewer’s rosy conception of life as it is. Moreover, we have supplemented each self-portrait with a lyrical song that underscores the sentiment of the portrait, and further engages the viewer such that viewing the portrait is a more active experience. Because we both find that songs allow us to process our emotions and experiences through different lenses, song selection contributed greatly to our self-reflection on these existential issues. Moreover, the inclusion of songs helped to realize our second goal. Listening to and making music together has been shown to increase synchronization, social attachment, and feelings of affiliation in children and adults (Rabinowitch et al. 2020, 4). We thus employ these mobilizing effects of music to prompt the viewer to do the same, namely to examine his actions and plight in light of our self-reflection in each portrait. Thus the portraiture, musical, photographic, and computer-edited components of this exhibition synergize to both convey and evoke reflection on the five main existential threats.
Relevance to Coursework:
The artistic method of our project engages substantially with our class on “The Artistic Imagination of Threat and Speculative Design.” In Terrarium as well as our class lecture, Patrick Jagoda discussed the power of alternate reality and science fiction to prevent people from distancing themselves from long-term outcomes; it “defamiliarizes people to their present and helps them think more effectively” (Fourcaster 2019, 2:06). Additionally, Dunne and Raby emphasize the ability of artistic fictional worlds to enhance and expand our ethical and strategic thinking, and thereby our possible futures (Dunne and Raby 2013, 70). In this vein, our portrait/song pairs ‘unsettle the [our and the viewer’s] present’ by placing us in and exploring our reactions to the various existential threats (Dunne and Raby 2013, 71). For example, the portraits and songs for nuclear annihilation and misinformation employ counterfactual techniques, while AI and misinformation leverage absurd speculation. The portrait statements cover these strategies more comprehensively.
Meanwhile, each portrait engages with content on that topic discussed in class. These connections are also explained in the short statement that accompanies each portrait, and tabulated below.
Portrait / Song |
Invoked Concepts |
| Self-portrait in Misalignment/ “Pets” |
|
| Self-portrait in a Subway Tunnel/“Dirty Little Virus” |
|
| Self-portrait in Nuclear Annihilation/ “Radioactivity” |
|
| Self-portrait in a Conspiracy/“Digital Witness” |
|
| Self-portrait Above it All/“PARAD(w/m)E” |
|
Implications:
As stated in our goals, this exhibition of self-portraits is intended to facilitate reflection on existential risks. Impetus for the project was to engage with the topics differently in order to get our heads around them better. The process of “assembling” the images was conducive to this. In presenting the topics in an eye-catching (and ofttimes jarring) manner, hopefully we can now spark interest in the ideas with our viewers.
We firmly believe that humanity can, and should, still save itself from impending doom. Individual reflection elucidates one’s personal contributions to existential risk, as well as what each one of us stands to lose- from life as we know it, to a better future for our progeny. Through contemplation of these portraits, appreciation of their details and their relevance to the crises, and acknowledgement of these aspects in one’s own life, we hope to inspire risk-mitigating action in our viewership.
Self-Portrait Exhibition
Welcome to our Gallery!
Each image has an audio link directly above it. We suggest you start the audio to enjoy a more immersive experience with each picture. Open the image in a new tab (command + click) to take a closer look at the details.
Enjoy!
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Self-Portrait in Misalignment
This individual self-portrait portrays Jane, her meager human intellect rendered obsolete by the dawn of superintelligent AI. The portrait explores two possible ways in which superintelligent AI might usurp humanity, whose place atop earth’s pecking order relies in great part upon superiority to other animals “in all relevant dimensions of intelligence” (Russell 2019).
Firstly, as introduced by Stuart Russell, superintelligent AI that is not aligned with our ever-fluctuating and ill-defined wishes by careful design could rapidly subvert our society in order to achieve the ambiguous objectives that we provided. To evidence this, Jane is bound in fiber optic cable cuffs and a cable collar, subdued by AI acting through the internet of things. Paper clips, a classic example in defining objectives and preferences in textbooks on AI design, rain down, exemplifying the contortion of our true preferences.
Secondly, Martin Rees introduced the potential for superintelligent AI and brain-computer interfaces to augment our intelligence and immortalize downloaded thoughts and memories, thereby blurring the line between human/machine and life/death. Indeed, he supposes that superintelligent AI will take over inventive, quantitative, and scientific endeavors, and that our descendants will incorporate inorganic intelligence, at least to some extent. Circuit patterning on Jane’s skin, as well as her unnaturally green eyes, point to our evolution towards such a super-human race.
In either case, Jane’s fear of this upheaval of human sentience is evident. Wearing her lab coat, she clings to her now useless brain as the walls of Kersten Physics Teaching Center, an emblem of higher education and intellectual pursuit, distort around her. If, as Rees suggests, “A sufficiently versatile superintelligent robot could be the last invention that humans need [or get] to make” (Rees 2020, 107) societal conceptions of human intellect, intellectual curiosity, and meaningful labor will be shattered. But as much as the AI singularity terrifies Jane, her lab coat also underscores her dedication to technological progress; at what point are we selfish to stand in the way of AI, and the “billions of years of posthuman evolution” that it might realize (Rees 2020, 153)?
Song: “Pets” by Porno for Pyros
Porno for Pyros’ “Pets” underscores both human subservience to and a natural evolution toward inorganic intelligence. Released in 1993, it is a dreamy and dystopic ponderance of humanity, and our demise. “Oddly tranquil and seemingly sweet” (Rivera 2010), the song is a calm melody accompanying a soft vocal delivery of grim assessment and dark foreboding. “Pets” proposes that with the human race’s steady decline, “We’ll make great pets” to the race that “take[s] over for us” and “do[es] better than we’ve done.” The song has been reviewed as “an honest opinion”, focusing not on “positive change”, but rather, “the inevitable result of mankind’s destructive behavior” (Rivera 2010). ”Pets”, like the threat enveloped in the advent of AI, touches a particular nerve for us, presenting the challenge of imagining rescinding control of our own faculties, and ultimate subservience to some higher force.
A girl’s face dominates the image. She grabs at her head, mouth agape. She wears a blue lab coat, as well as cuffs and a collar made of computer cables. Her eyes are lime green, and her skin has a circuit patterning. The background is a warped university hallway.
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Self-portrait in a Subway Tunnel
In a pandemic portrait Janet stands maskless and alone in a subway car, the one she no longer rides to work every day. Pandemics throughout history have been catastrophic events, their spread deadly, and their prevention socially devastating and bureaucratically complex. All pandemics not only pose a critical public health challenge but also have significant ramifications socially, economically, ecologically and politically. Unfortunately the levels of public coordination and private cooperation required to effectively deal with them do not always align with the task. We compared our recent experience with the Covid-19 pandemic to being in a tunnel, never quite sure where we were in it, menaced, separated, constricted, untended and often “in the dark”. In a nod to early 20th century pandemic portraiture and its barren landscapes, the subject is alone and the distinctly urban surrounds of a subway car are eerily empty, the seats minimalist and hygienic (Kambhampaty 2020). Her gaze is averted, is it for safety? to avoid eye contact with her privilege? or looking for some way out? Yet throngs are visible through protective glass, the distorted forms of humanity coping? working? all risking in their own ways. Or do they evoke, as in George Grosz’s painting, The Funeral, inspired by the1918 influenza pandemic, “humanity that “ has “gone insane”(Kambhampaty 2020)? The train winds toward Government Center, seat of the State House, but will there be any resolution there?
Song: “Dirty Little Virus”, Iggy Pop
Iggy Pop released this commentary on the Covid-19 pandemic in December of 2020. It references pandemic and pandemic response generally, including disease, “Guy gets a fever”, its fatality, “Grandfather’s dead”, economic impact, “gone are the paydays”, quarantine, “can’t touch no one” and quarantine fatigue and resistance, “the boys and girls can’t stop their world”, and more specifically, as in government’s response to Covid-19, “got Trump instead”. He intended to “write a direct lyric, not something too emotional or deep, more like journalism” (Ehrlich 2020). While specifically about the Covid-19 pandemic, topics of the song can be applied to pandemic circumstances more generally. We chose this song for its brash sound and direct message that we felt comes to terms with the exigency of our current environment.
To the right a woman’s face is visible. She looks to the upper left, expressionless. The backdrop is an empty subway car. A sign indicates that the next stop is “Government Center.” There is a hand sanitizer station in the back left of the train. Crowds of people are visible through the windows.
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Self Portrait in Nuclear Annihilation
In a portrait of the nuclear existential threat Janet poses consumed by possible outcomes. To the viewer’s right blazes the violent conflagration of a nuclear firestorm enveloping her memories, flames lapping at her face. The left of the portrait is marked by ash and rubble, the ravages of nuclear aftermath. Contemplation of the gravity of this threat especially fills us with a sense of powerlessness, frustration, and fear. The danger and futility of unilateral control is reflected in a horizon focused gaze, look closely in her eyes and you’ll glimpse a presidential figure with a finger wavering over the button. She is awaiting a “reshap[ing] of US nuclear policy…badly in need of repair” (Perry 2020, 206). Imagined in the background is a fortress of our government unspared, a shadowy backdrop to ghostly images of school girls, her classmates, in parochial school uniforms, yet no less unprotected from cold war engagement by “lofty quotations from the Bible” (Brown 1984, 10). There but for the intervention of some humane rational thinking or the luckier trajectory of ”close calls“ lingers a specter of what could have been. Through this cautionary portrait, derived from dread, we hope to also summon hope and a renewed sense of moral and technical responsibility, for, “It is incumbent on us to pay attention” (Bronson 2021).
Song: “Radioactivity”, Kraftwerk
The song Radioactivity was first released in 1975 by the German band Kraftwerk. The song’s title was originally intended as a play on the words radio activity from the eponymous theme album about radio waves. A remixed rerelease in 1991 “omitted all references to radio” and instead “offer(ed) a value judgment on the safety of radioactivity” adding “anti-nuclear lyrics that mentioned by name Chernobyl, Harrisburg, Sellafield and Hiroshima” (Radioactivity 2021). At the beginning of the song are “morse code signals spelling out ‘R-A-D-I-O-A-C-T- I-V-I-T-Y’”. These are played again at the end ciphering the song’s lyric “I-S-I-N-T-H-E-A-I-R-F-O-R-Y-O-U-A-N-D-M-E”. We chose this song for its alternately menacing and somber tone, nuclear disaster focus, and the novelty of its sound components, especially for the time when it was released.
A woman’s face is at the center of the image. The right side of her face is charred, and her eyes reflect the president with his finger on the nuclear button.The right side of the image is engulfed in flames. The left side of the image depicts gray rubble. In the background the Lincoln Memorial, as well as a faded class picture from a memoriam to the Class of 1968, are visible.
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Self-Portrait in a Conspiracy
In a quixotic portrait of the power of media-generated information Jane poses proudly, in a relaxed shoulder to shoulder pose, with Bill Gates. The pair stand at the entrance to a large storage room at the Pfizer factory, prepared to vaccinate the world. Wait what? With what? With who? In our discussions about technology, information and the widespread activity of misinformers we continually loop back to fake news and its insidious effects on our own personal experiences. Jane is pictured here wearing her vaccination volunteer vest, her Saturday go-to for the last several weeks. But her personal experience of an already tenuous brute force effort to provide safety to communities through vaccination has been upended, scourged with doubt and increased hesitation by a flood of internet posts, blogs and sites. Refutations of vaccination efficacy and conspiracy theories of control chip injections have taken hold countering hard scientific data and against the better judgment of public health and safety. The persuasive “words and images” of “Information Warfare and Influence Operations” have a less “obviously destructive effect on a society”, but no less nefarious (Lin and Kerr 2019, 21). Moreover, the copious amounts of information enabled by our ever developing media connections “are cognitively disorienting and can be confusing. Opportunities for emotional manipulation abound” (Lin and Kerr 2019, 21), making for fiendishly powerful consequences of disorientation, doubt and conflict. The portrait is a counterfactual speculation, warping genuine recount to pollute her own memories. So wait, when was this taken?
Song: “Digital Witness”, St. Vincent
In her bouncy electronic 2014 release “Digital Witness” Annie Clark, a.k.a. St. Vincent, was “trying to unpack the phenomenon” of technology in our lives and how “it applies to being human today and how it’s infiltrating (her) humanity for better or worse”(Sosenko 2014). Conversing with a society well acquainted with screens she contemplates the relationship, “People turn the TV on, it looks just like a window.” Who’s looking in, or out, and at what? She considers identity and dependence, ”if I can’t show it, if you can’t see me what’s the point of doing anything?”, and the digital world‘s potential all-consuming powers, “I want all of your mind”. For this piece we feel this song is expressive of technology and its capacities for misconnection and misinformation. Our digital world shouldn’t be underestimated and we should ”ingest with caution”(Lin 2021).
A girl in an orange vest stands with Bill Gates in a vaccine manufacturing center. Behind them are metal vaccine refrigerators, as well as signs warning of 5G radiation, and marking the implant chip packaging area.
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Self-Portrait Above It All
This group portrait is a garish testament to our summed decades of volitional ignorance about climate change and its destructive effects on geographically and economically vulnerable communities, especially in South and Southeast Asia and the Pacific Islands. We sit in business class on the emblematic US Air, toasting with our mid-flight bubbly and beaming at the viewer. Our clothing is vibrant and frivolous, and our warm gazes carefree and inviting. In concert with Sylvan Esso’s PARAD(w/m)E, we cast the viewer as our fellow vacationer, snapping a quick photo mid-flight. Yet at the same time the skewed perspective and an open fuselage signal something quite amiss.
We are unbothered by a baby wailing as we spew 92 kg of CO2 per hour into the atmosphere that he will inherit (“Aviation” 2021). Jane elects not to pay attention to a forest fire raging below. We imagine this particular blaze is in India, where a record 82,170 forest fire alerts were recorded between April 1-14, 2021 due to rising temperatures in the region (Marar 2020). Wildlife flee the scene, and one might presume that 10,000 feet below citizens in nearby rural districts also flee the flames, which the country’s fire services are not sufficiently equipped for (Marar 2020).
Song: “PARAD(w/m)E”, Sylvan Esso
The duet known by the name Sylvan Esso play a light-hearted romp belying vocals traversing a landscape ravaged by the effects of climate change. Released in early 2017 it has been well received as “a fizzy little slice of celebration, suitable for a post-apocalyptic party” (Thompson 2018). Lines like “Gas station is running dry”, “Now, it’s always summer time,” “Oceans all gone with the tide,” contemplate a bleak world of our own doing, “How’s that for manifesting our destiny?”. In an “arrangement so playfully springy, it can’t help but sound like summer fun” is a song contradictorily engaging and disturbing (Thompson 2018). To us this tune is particularly fitting with our climate change portrait because in this image we found ourselves facing our own complicity, confronting our own bright good times with a far more troubling realization.
Two women sit on a plane in business class, drinking champagne. In the row behind them, a baby cries in his laughing mom’s lap. Outside, the sky is dusty and a forest fire rages.
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Link to Narrative of Project Development and Respective Contributions
Works Cited
Bibliography
[1] “Aviation.” May, 2021. Carbonindependent.Org. Accessed June 4, 2021. https://www. carbonindependent.org/22.html.
[2] Bronson, R. 2021. “Nuclear Risk Lecture for BPRO 25800 at the University of Chicago.” April 1.
[3] Brown, J. 1984. “Nuclear Addiction.” Thought Magazine, Vol. 59 No. 232, March 1984.
[4] Dunne, A. and F. Raby. 2013. Speculative Everything: Design, Fiction, and Social Dreaming. Mit Press.
[5] Ehrlich, B. 2020. “Iggy Pop Wrote a Song About Covid-19.” Rollingstone.Com. [4] Rolling Stone. December 21, 2020. https://www.rollingstone.com/music/music-news /iggy-pop-covid-19-song-1106474/.
[6] Hall, J. 2016. The Self-Portrait: A Cultural History. Thames & Hudson.
[7] “Introduction to Effective Altruism.” n.d. Effectivealtruism.org. Accessed June 3, 2021. https://www.effectivealtruism.org/articles/introduction-to-effective-altruism/.
[8] Fourcaster. TERRARIUM https://vimeo.com/345564018 (accessed Jun 4, 2021).
[9] Jakway, C. 1998. “A Kierkegaardian Understanding of Self and Society: An Existential Sociology.” Kalamazoo, MI: Western Michigan University.
[10] Kambhampaty, A. 2020. “How Art Movements Tried to Make Sense of the World in the Wake of the 1918 Flu Pandemic.” Time, May 5, 2020. https://time.com/ 5827561/1918-flu-art/.
[11] Lin, H. 2021. “Information Chaos in BPRO 25800 at the University of Chicago.” April 15, 2021.
[12] Lin, H. and J. Kerr. 2019. “On Cyber-Enabled Information Warfare and Information Operations (to Appear in The Oxford Handbook of Cybersecurity).”
[13] Marar, A. 2020. “India Saw Largest Area-Wise Forest Fires in South Asia from 2003-17, Finds ISRO Study.” The Indian Express, March 9, 2020. https://indianexpress. com/article/india/india-saw-largest-area-wise-forest-fires-in-south-asia-from-2003-17-finds-isro-study-6305733/.
[14] Mobbs, D, C. Hagan, T. Dalgleish, B. Silston, and C. Prévost. 2015. “The Ecology of Human Fear: Survival Optimization and the Nervous System.” Frontiers in Neuroscience 9: 55.
[15] Ord, Toby. 2021. The Precipice: Existential Risk and the Future of Humanity. Hachette Books.
[16] Perry, W. and T. Collina. 2020. The Button: The New Nuclear Arms Race and Presidential Power from Truman to Trump. BenBella Books.
[17] Rabinowitch, T. 2020. “The Potential of Music to Effect Social Change.” Music & Science 3: 205920432093977.
[18] “Radioactivity.” 2021. In Song Facts. Songfacts, LLC. https://www.songfacts.com /facts/kraftwerk/radioactivity.
[19] Rees, M. 2018. On the Future: Prospects for Humanity. Princeton, NJ: Princeton University Press.
[20] Rivera, J. “Perry Farrell Says We’ll Make Great Pets.” n.d. 2Ndfirstlook.Com. Accessed June 4, 2021. https://www.2ndfirstlook.com/2010/10/perry-farrell-says- well-make-great-pets.html.
[21] Russell, S. Many Experts Say We Shouldn’t Worry About Superintelligent AI. They’re Wrong. IEEE Spectrum. October 8, 2019.
[22] Sosenko, C. 2014. “St. Vincent Interview: ‘I like the Mischief Aspect of Stage-Diving.’” Carlasosenko.Com. August 3, 2014. https://carlasosenko.com/2014/08/02/st-vincent-interview-i-like-the-mischief-aspect-of-stage-diving/.
[23] Thompson, S. “In ‘PARAD(w/m)E’ Video, Sylvan Esso Leads A Post-Apocalyptic Dance Party.” 2018. Wwno.Org. January 17, 2018. https://www.wwno.org/2018-01-17 /in-paradw-me- video-sylvan-esso-leads-a-post-apocalyptic-dance-party.
Discography
[1] Porno for Pyros, “Pets,” track 2 on Porno for Pyros, 1993, Warner Bros Inc., mp3.
[2] Iggy Pop, “Dirty Little Virus,” 2020, Thousand Mile Inc., mp3.
[3] Kraftwerk, “Radioactivity,” track 2 on Radio-Activity 2009 Remaster, 2009, Capital, mp3.
[4] St. Vincent, “Digital Witness,” track 1 on St. Vincent, Republic, 2014, mp3.
[5] Sylvan Esso, “PARAD(w/m)E,” Loma Vista, 2018, mp3.
Images
[1] Gallery Wall, n.d., photograph, decaratorist.com accessed June 3, 2021https://cdn.decoratorist.com/wp-content/uploads/judith-giuliani-artist-bio-51308-772×449.jpg.
[2] “Photo Editor.” n.d. Befunky.Com. Accessed June 4, 2021. https://www.befunky.com/.
AI Portrait:
[1] 10 ft. CAT 7 SFTP 26AWG Double Shielded RJ45 Snagless Ethernet Cable, Blue, n.d., photograph, HomeDepot.com accessed May 25, 2021 https://www.homedepot.com/ p/Micro-Connectors-Inc-10-ft-CAT-7-SFTP-26AWG-Double-Shielded-RJ45-Snagless-Ethernet-Cable-Blue-E11-010BL/312210124.
[2] Circuit, n.d., photograph, jooinn.com accessed May 25, 2021 https://jooinn.com/images 600_/computer-circuit-board-9.jpg.
[3] Kersten Physics Teaching Center, July 15, 2014, photograph, thelousytraveler.com accessed May 25, 2021 https://thelousytravelerdotcom.files.wordpress.com/2014/07/ /kptc02.jpg.
[4] Paper Clip, n.d., photograph, cleanpng.com accessed June 1, 2021 https://banner2.cleanpng.com/20180421/qkq/kisspng-paper-clip-bulldog-clip-office-assistant-binder-cl-5adbf0aa720ef0.7451917215243634344672.jpg.
[5] Red, Black Copper Twisted Wire, n.d., photograph, IndiaMart.com accessed May 25, 2021 https://www.indiamart.com/proddetail/twisted-household-wire-16717054891.html.
Pandemic Portrait:
[1] Costa, J. An Empty MBTA Green Line train in Boston, March 24, 2020, photograph, NEPM.org accessed May 24, 2021 https://www.nepm.org/sites/wfcr/files/styles/medium /public/202005/0324_copley06-1-1920×1280.jpg.
[2] Sand Bar Bash Party, August 6, 2020, photograph, upnorthnewsWI.com accessed May 24, 2021 https://fwiw.imgix.net/wp-content/uploads/sites/3/2020/08/Sand-Bar-Bash. jpg?w=1400.
[3] Vinyl Sign- Hand Sanitizer Station, n.d., photograph, WBmason.com accessed May 24, 2021 https://www.wbmason.com/ProductDetail.aspx?ItemDesc=NMC-Vinyl-Sign-Label- Notice-Hand-Sanitizer-Station-10-x-14&ItemID=NMCN520PB&uom=EA.
Nuclear Portrait:
[1] Trump Over the Nuclear Button, January 4, 2018, “Can Donald Trump Push the Nuclear Button?” YouTube still, 0:01 accessed June 1, 2021. https://www.youtube.com/watch? v=BDTohFtgn3s.
Misinformation Portrait:
[1] Kumar, A. Apnalaya SDG Advocate Meets Bill Gates at UN General Assembly, September 28, 2018, photograph, linkedin.com, https://media-exp1.licdn.com/dms/ image/C5112AQFr-YncjVguDQ/article-cover_image-shrink_720_1280/0/1538115891768?e=1628121600&v=beta&t=XxQV2J9Ryrhz0csCzV–Gxor07VqgWP1oPvOrJdJ7KE.
[2] Pitts, J. Pfizer Vaccine Manufacturing, November 20, 2020, photograph, APnews.com accessed May 27, 2021 https://apnews.com/article/pfizer-emergency -use-covid-19-vaccine177b3ba382517392911c029ecbe74daa/gallery/0b4e0e399d3d44568a118447c580bb76.
Climate Change Portrait:
[1] A Forest Fire Up Close, n.d., photograph, catherinecooper.files.wordpress.com accessed June 1, 2021 https://catharinecooper.files.wordpress.com/2013/08/p1040829.jpg.
[2] Airbus A350 Seating From a Bygone Era, n.d., photograph, QZ.com accessed May 23, 2021 https://cms.qz.com/wp-content/uploads/2015/04/rtr3k9xk.jpg?quality=75&strip= all&w=3200&h=1826.
[3] Airplane Window, n.d., photograph, freepik.com accessed May 31, 2021 https://image. freepik.com/free-photo/window-side-passenger-with-wing-airplane-flying_49071-1200.jpg.
[4] Crying Babies Turn Into Laughing Moms, n.d., photograph, mom.com accessed May 31, 2021 https://i.pinimg.com/564x/3b/46/fb/3b46fb66c9ef9795015851a8e7a8e0b1.jpg.
[5] Insulated Blackout Curtains,n.d., photograph, amazon.com accessed June 1, 2021 https://www.amazon.com/Best-Home-Fashion-Insulated-Blackout/dp/B0026SA8LK.
[6] timmy1010. Backcountry Hut, 2018, photograph, reddit.com accessed May 24, 2021 https://preview.redd.it/4rruirjrzdd21.jpg?width=960&crop=smart&auto=webp&s=bdbccd4922ade7fba55383c16ffd9031d8c1ebc4.