Nye – National Theatre, Spring 2024

I hit sixty this year. A milestone for anyone, but especially for those of us who never thought we’d get that far – not that we would die prematurely, rather that 60 years seems an impossible number of years ever to reach (despite the evidence of its absolute possibility). So what is to do to celebrate the milestone? Well, obviously, do something that I have not done before. For me, then, it was to go to the National Theatre in London with my beloved. Neither of us have been there before, it turns out. So what is on on the special day? Well, magically, it is Nye by Tim Price. It is the story of the founding of the National Health Service (NHS) told through the life of the man who made it happen, Aneurin Bevan, played by Michael Sheen. Expensive, but you only live once and it is down hill from 60.

I’m not a fan of theatre as some of my friends know. It is all a bit too representational for me. I’ve understood the purpose of theatre. I think. But here I was attracted to the combination of my own history (the NHS), Michael Sheen (left) and the National. Michael Sheen I have seen in films. The National – I always remember many BBC programmes ending with the statement that x and y were both National Theatre players. I did not really know what that meant. But it must have been important. 50 years on, I have an answer.

Not being a fan of theatre, I was additionally anxious that the performance took the best part of 3 hours. But in the end, I need not have worried. There was not a moment of boredom or anxiety. Nye Bevan is depicted honestly by Sheen. Sheen is in every scene wearing pyjamas even when making a speech in Parliament. See what I mean about being representational?

The players

The play traces Bevan’s journey from being bullied by teachers in school because of his stammer – Sheen handles the stammer brilliantly – to the local council, to Parliament, to the Health Ministry and death. In hospital. There were for me three standout scenes. Getting over the stammer was facilitated by access to libraries – and books. There’s the realisation that if some words are unpronounceable, others with the same meaning are perhaps not. Focus on what is possible rather than what is not possible. The library scene is uplifting (literally). Those National Theatre Players show why all of those years ago they got an additional mention. The second scene was an exchange with Churchill, his parliamentary nemesis. Churchill taught him that compromise was sometimes needed to get what you want. Sometimes MPs have to go through government or opposition lobbies against their better judgment. And finally the scene where he takes on the doctors (supported by Tories in the Parliament, including Churchill) that are vehemently against the nationalisation of their profession. He wins them over through compromise. The NHS is founded. We now reflect on the extent to which the Tories of the 2020s have systematically undermined the service because of their seeming hatred of public provision of services that make our society and define civilisation.

There is a much more to this play than these three scenes, of course. My sixtieth birthday present from the NHS was a letter inviting me to provide them with some “poo” to test for bowel cancer. Bevan died of stomach cancer at the age of 62.

Burtynsky – Extraction/Abstraction (Saatchi Gallery, April 2024)

I am not a little impressed by photographers that work at scale. I have been the subject of one such photographer, Spencer Tunick, in London. His subjects were always without clothes. It was late April 2003. There were thousands of us. It was quite an experience. And for the exhibitionists amongst us, it was possible to visit the adjacent Saatchi Gallery (then in the old County Hall building) before re-robing.

Then there is the wife-and-husband couple of Hilla and Bernd Becher who spent their careers taking black and white photographs of industrial sites and machinery such as mines, steel plants, water towers, etc. I suppose what really impressed me was the fact that they hit on recording something that I, as a child, thought would be there forever and they, not being children, knew they would not. Hence I regret not taking more photographs of buses, trains and shops in my home town when I was growing up. But there you go.

And then there is American photographer, Edward Burtynsky. His father worked in a steel plant. Burtynsky himself funded his studies by working in that very same plant for a sufficiently long time for him to latch on to the idea that such plants may provide a subject for his photographic career. As it turned out, his most influential work is not the plant itself, rather the extraction of the raw materials that ended up in those plants – iron ore, copper, coal, etc. For that reason, this exhibition was a must (subject to my busy schedule).

I’ve now been and the images are extraordinary. They are presented in very large format and, mostly, as aerial shots, look nothing like what they depict. They come across as abstract art – hence the title of the exhibition. On the whole, however, they are not art, they are a record of environmental destruction. There are a few exceptions where the extraordinary patterns actually record profuse wildlife habits such as the landscape around Cadiz in Southern Spain (above left).

Like most artists Burtynsky has a team working for him. The drone technology he uses relies on an expert to make them fit-for-purpose. For example, high altitude photography creates a challenge to get sufficient lift to get the drone in the air (there is a part of the upstairs gallery that reveal his methods, equipment and projects).

By far the most interesting galleries show the scale of the impacts on the landscape of mining – whether it be the scars of the opencast mines themselves, or the spoil heaps or tailing ponds. With the possible exception of coal, the ores and minerals are not neatly packaged by nature for extraction. They require significant refining, often with toxic chemicals that tend to be dispersed into the natural environment. At scale.

So, anyone with a diamond may well have contributed to the large deposits of “waste” displaced to find diamonds. The picture (above right) is of the Wesselton Diamond Mine, Kimberley, Northern Cape, South Africa (2018). If readers look closely a conveyor belt can be seen on which the tailings are transferred to the pond.

A metal that we hear so much about for the necessary electrification of our world is lithium. There are a number of extraction methods for lithium; however, one mine in the Atacama Desert in Chile (left) pumps up a liquid from beneath a salt flat into ponds. The ponds are exposed to the sun, the liquid evaporates and the lithium carbonate is then harvested, before being processed. And then there’s agriculture.

Do readers ever go to the supermarket and see that broccoli or some other vegetable is from Spain and think, “ah, that’s fine”? Well, maybe it is not fine. Burtynsky shows the true scale of such operations and their impact on the environment (right). The greenhouses on the Almeria Peninsular harvest between 2.5 and 3.5 million tons of fruits and vegetables annually, including “out-of-season”. These greenhouses require huge amounts of precious water along with a heavy use of chemicals. Climate change is making the water situation more difficult.

I could go on. I have one last thought. Scale is a problem for us as humans. Burtynsky has taken some revealing pictures of people at work (left) of particular alarm is a picture showing people working in a chicken processing factory in China (everyone wears pink, left). The scale here is twofold really. First, the people. The thought of 8/10 hours per day chopping up chickens is hard to comprehend. We try to present work as something that offers meaning to humans and the opportunity to work with others and exchange ideas, thoughts and stories. There is not much of that going on in this factory. And then there is the chickens. The sheer scale of this one factory tells of the huge number of chickens slaughtered daily to keep these people employed (and presumably fed).

This is an exhibition at scale. Bigger than I thought it would be. It took about 21/2 hours to get through and that included a 30 minute film at scale (worth the visit, for sure). It is thought provoking. There’s a big chalk board to write one’s thoughts – mostly about human stupidity. And then there is a shop in which visitors can contribute to the further exhaustion of finite resources. I had a poster in my hand. And then I put it down and left.

Nothing in this exhibition is human scale. Arguably the Bechers’ work in the 1960s was a little more human scale. Spencer Tunick’s work is by definition human scale.

If readers want to know more about extraction, I suggest Ed Conway’s book, The Material World.

Electrifying UK railways and climate change

I use the case of the electrification of the railways as an example of climate mitigation. Diesel trains are hugely polluting, particularly in the context of carbon dioxide; electric trains much less so. Seemingly a switch from car to diesel train can cut an individual’s carbon emissions by 70 per cent and a whopping 90 per cent if the train is electric.

Class 171 DMU, Lewes, UK

The electrification of the network has always been rather piecemeal. The East Coast Mainline was electrified in the 80s, but missed out key towns and cities such as my home town, Hull. Diesel trains still run under the wires from London to the city. More startling, but not surprising is the account given by Aneurin Redman-White, a railway design consultant, of the mess that is Brunel’s original railway Paddington to Bristol/Cardiff and Penzance. The Penzance bit was abandoned by Chris Grayling, the former secretary of state for transport, even though it had been used as a reason for price increases! It’s like watching a mini-series on TV but not watching the concluding episode. But, actually, it is not like that at all.

Unfortunately, the current British Government, like many before it, believes that private mobility – cars – are still the future and perennially electorally popular. Notwithstanding the fact that governments should always lead rather than follow, especially on global challenges such as climate change, the decision not to electrify the railways on cost grounds, whilst continuing to build roads, is short sighted and wrong.

There is another option, instead of electrifying the infrastructure – at least for short or middle distance routes – battery trains are becoming an option. Great Western Railway in England has now publicly trialled such a train (right – with Mark Hopwood, MD). This train is giving 86 miles (138km) per charge. And charging takes – wait for it – 31/2 minutes.

There are hybrid electric trains, too. Hitachi Rail runs 20 so-called tribrid trains across Italy. The battery is charged when the train decelerates by braking or when it is collecting charge from an overhead wire. There is only 10 miles manageable per full battery, however.

Network Rail, the owner of the UK infrastructure such as track and signalling, has a net zero carbon target for 2050. To meet that target about 500kms of new electrified railway is needed each year. At the moment, a mere 38 per cent of the UK rail network is electrified. The German railways, by contrast, are reported to be 90 per cent electric operation (slightly different terms, I appreciate, but even then, a significant difference).

The argument that the UK railways contribute only about 2 per cent of greenhouse gases across all sectors is a classic response. What is 2 per cent? For that amount, it is not cost-effective. Investment in public infrastructure can be cost-effective, especially if we consider wider social returns in terms of employment and mobility more generally (just look at what CrossRail/Elizabeth Line has done for the Capital). Moreover, maintaining the capability to design, build and maintain infrastructure is, arguably, a requirement of a post-carbon (aka civilised) world.

Banksy’s artworks

Gio Iozzi asks, why does it take an artist to expose the assault on our urban trees? This in light of Banksy’s latest addition to his portfolio recently found in Finsbury Park, London. It is an interesting work, and slightly different from his usual work, as it requires a significant prop. A tree. The tree is special because it has been “pollarded” – severely pruned in normal parlance. It has been pollarded because, according to the Council (the owners of the land on which the tree stands) it was diseased. It is a cherry tree, and they do not, it seems, respond well to radical pruning. There is also a question of whether diseased trees need to be pruned or felled. Many of us are a little diseased, but we do not lob off all of our limbs to deal with it. Or at least not as the first option.

It seems that Banksy, whoever he is, saw the opportunity to provide this sad tree with leaves by painting them – or spray painting them – onto an adjacent side wall. Viewed from one angle, the tree looks healthy and with full plumage. And like all Banksy artwork, there’s a message.

Art is there for the receiver to interpret, even if the artist provides the artwork with their own meaning. So we take liberties – rightly – with interpretations. So let us interpret this widely. This is a dual statement about the state of our urban trees and about climate change. Urban trees are under threat, just at a the time when we need them most. Our cities are getting hotter. Trees provide shade, for sure. But they also cool the air. Even diseased ones. So much urban landscape is devoid of trees. Devoid of ways of cooling and, increasingly, draining.

More broadly the onslaught against the planet’s forest ecosystems is relentless. The cutting and burning of the Amazon has slowed, but not stopped. Forests elsewhere in Indonesia and Africa are also in retreat. In Brazil particularly to provide land and feed for cattle. So not only do we lose carbon-capturing trees, we also increase our emissions through bovines, notorious methane producers. All because we want to eat large quantities of beef.

In response to Iozzi’s opening question about artists, I respond simply by saying, it is what artists do. It is why they are an essential part of the democratic process. Throughout history artists (not all, for sure) have made statements about society, power and morals. Degenerate art in Nazi Germany was degenerate for a reason. Artists have been subtle sometimes in their representations. Messages that eluded the censors because they were unable adequately to understand what they were actually looking at. Even Picasso, not known for his political statements, produced his masterpiece, Guernica, to say something to the perpetrators of the destruction of the Spanish town in 1937. Famously when asked by a Nazi Officer at his Paris studio whether he had “done” this painting, his reply was “no, you did this”.

To add value to the picture and to the metaphor, Islington Council put a protective fence around the work, but within 48 hours it had been defaced. I am pretty sure that Banksky was smiling. I rest my case.

Original picture source: https://twitter.com/IslingtonBC/status/1769722470355828821/photo/1

The Garrick Club

The Guardian’s recent exposé on the Garrick Club in London is troubling. It took a data breach for us to know who the club’s members are.

David Pannick QC

Not only is this a “gentlemen’s” club, it is also an elite club where state/government policies are discussed and made. As a man I do not have the resources to join and even if I did, I think it is unlikely that existing members would nominate me. I could at least try; but if I was female, it would be harder despite David Pannick KC’s best efforts to justify its existence. There is, argues Pannick, nothing in the language that bars women – even the word “gentleman” seemingly has a defence. Here is Pannick quoted in the Guardian article: “[t]he term ‘gentlemanly’ is plainly being used here in the sense of the meaning ‘[o]f a pastime, behaviour or thing’ that is ‘of high quality; excellent’”. I’m not about to buy that. It is not surprising that lawyers can offer such a defence as we discover that a large tranche of senior [read influential] figures in the profession are members. Many environmental campaigners, for example, have found themselves judged by them. And that raises bigger questions about the profession itself.

Picture: By Cambridge Law Faculty – https://www.youtube.com/watch?v=fxB59qEi6i0, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=104993515

Fossil fascism

Saltaire. Photo: Roger May, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=14391160

When I came to write my textbook on business strategy in the age of climate change, it was not until I had read Andreas Malm’s book, Fossil Capital that I felt I had a proper foundation. Malm’s thesis was relatively simple: the mechanisation underpinning the industrial revolution did not need to be a fossil-driven revolution. Water would have done (I understand why that is contested). But, the capital owners saw a number of benefits (to them) of steam power (fuelled by coal). Many of the early mills in the North of England and Scotland required the owners not only to build factories, but also villages for employees (one example, Saltaire, West Yorkshire (right). Villages with schools, sports, places of worship, etc. These were expensive, they also promoted labour power. The steam engine was not geographically hidebound. The fuel could come to the factory rather than the other way around. More expensive, maybe, but the plutocrats no longer needed to provide housing and labour power was neutralised.

This realisation enabled me to frame my book in terms of the continued burning of fossil fuels as a choice. It did not need to be that way in the past, and it does not need to be that way in the future. We can have a zero carbon economy. We choose not to.

Andreas Malm. Source: https://www.keg.lu.se/andreas-malm

Many writers and thinkers may have stopped there, but Malm is driven. He followed that up with a book about climate and Covid and, controversially, enlightened us on how to blow up a pipeline. In between all of that, Malm, along with the Zetkin Collective, wrote an extraordinary book entitled White Skin, Black Fuel about the relationship between climate change denial/scepticism and fascism. It is like his earlier book, Fossil Capital rather sprawling. Readers need to persevere, it is easy to say that it is too difficult. Malm takes us through time and space locating as he does the origins of fascism, its contemporary manifestations (Europe, North America and South America) and, crucially, why fascism and climate scepticism/denialism are aligned.

Consider this (which I had not done before), why has no far-right party ever endorsed renewable energy? Indeed, why do far-right parties commit to dismantling renewable energy installations, particularly wind? Now this is only a small part of the book, but for me it is the most intriguing and the one that augments my own understanding of the challenges ahead – maybe not absolutely for my generation, but certainly for anyone under 50.

Malm’s plausible hypothesis rests on an understanding of ultra-nationalism (he takes close to 260 pages to tell us what that is). Let me stick with nationalism, the sense that the homeland and its authentic peoples should be prioritised over so-called invaders, immigrants, alien faiths and, basically, anyone with a dark skin. Not only prioritised, but cleansed. We see it in today’s politics. Fossil fuels, argues Malm, fit a nationalist narrative. The is “our” oil. It is independent and we use it for our own development and wellbeing. Of course, oil usually belongs to oil majors that trade it in global markets, so that argument is flawed, but it is surprisingly potent when it comes to electioneering/power grabbing. The sun and the wind cannot be appropriated in the same way even though it provides energy security that no fossil fuel can match (in terms of availability and price). I hear readers now asking, what about countries that do not have a store of fossil fuels in their territory, why are nationalists in those countries so opposed to renewables?

Malm is clear. Colonialism and whiteness! Particularly rich whiteness. For it is the rich off the back of colonial exploitation that have so much to lose from decarbonisation. Their assets are sunk – literally – in the ground. Their lifestyles are high carbon. They fly so much more than most of us, and often in their own planes. Carbon is so much a part of who they are that to decarbonise is to lose their very identity. And what is more, decarbonisation (for them, a Marxist plot) is to enforce an unfair (to them) equality. How else do we explain a global carbon budget that is shared between countries representing some element of fairness? For example, the USA and Europe (particularly the UK) have a tendency to deny historic emissions, and cannot countenance coming down to the level of developing countries. How fair is that?

Malm argues that such an approach by the right (not even the far-right) can be traced back to the fall of the Berlin Wall and the loss of a tangible enemy – communism – that imposed equality in places where it was the dominant ideology. (Arguably not, as the Soviet Leadership and acolytes seemed not to be too constrained in their consumption.) To prove the point, Earth Day (22 April) is the the birthday of Lenin – no coincidence. So, those proclaiming a climate crisis and the need for action became the new targets of the right. Denialism and then a rejection of mitigation (cutting carbon emissions) in favour of a West-friendly adaptation (the West/North is better able to cope with temperatures of 2, 3 and even 6 degrees of warming so much better than other less-developed regions). Malm is thinking about people like Jordan Peterson and William S Lind. The attacks on Greta Thunberg feature in the analysis, too. The picture of her wearing an antifascist “Allstars” t-shirt, for critics, was proof that she was both Antifa and in the pocket of George Soros.

There are some other interesting elements to this approach. Denialists do not present counter evidence (largely because there is none), rather they present their narrative over and over again. The more it is repeated, the more it is liked and re-tweeted, the truer it becomes. Repetition is key. Our media tend to allow them to repeat their lies at will and without challenge. With this in mind, argues Malm, if one can lie about climate change, anything can be successfully lied about. Despite the evidence to the contrary, the lies carry more currency. That is partly because white people, increasingly turning their territories into fortresses, will survive it longer than people of colour in vulnerable countries.

This is not the end of the book at all. The race discussion occupies the subsequent chapters. But just like Fossil Capital, perseverance pays off. The reader is rewarded with insights (you do not have to agree totally with them). Malm has plenty of critics. By goodness, though, he does a lot of heavy lifting for us.

Cigarette Advertising

My blog used to be dominated by the Germans’ willingness to advertise products that are deadly, when most other countries had banned the advertising of cigarettes. But for many years I photographed what I saw on the streets and wrote a short derogatory commentary on the stupidity. There were many campaigns for all the major brands. One of my favourites was Gauloises’ Vivre le Moment (examples left and below right). You simply had to because the product will kill you. Take the moment, for sure.

Fewer readers come to my blog since the ending of cigarette advertising. I have not found a replacement topic that so attracts (admittedly I have not been trying too hard). But my recording of billboards was only for a short time. The history of these images and the campaigns behind them goes back much further. Every now-and-again someone puts together a portfolio of historical images that are compelling. And so it was yesterday in the Guardian newspaper under the heading: Shock of the old: 11 vintage, vaginal and downright dangerous cigarette ads.

Incidentally, the Germans still do things that are not allowed in other countries. The most shocking remains driving down the motorway at absurd speeds in cars that should not be on public roads.

Rome 2023 – EUR’s modernism and a cemetery

EUR was Mussolini’s attempt in Rome at building a (new) Rome at scale using 20th century materials and techniques. And by goodness, the results are impressive. The neighbourhood is reached on Line B of the metro system. The Palazzo della Civiltà Italiana (left) is visible directly from the metro station, EUR Magliana. It is as striking as anything in the old city. It stands in a fenced-off space with very little in the way of greenery. Like much of Rome, wildlife does not easily cohabit the space with humans. Feral cats do – also not good for birds and small mammals. Unfortunately the building is not open to visitors. Through the entrance door, one can see a big Fendi sign which suggests how the building’s purpose may have changed.

Don’t stop there, though. The wide avenues are themselves of interest and contrast. The coffee is a good price, too. The owner of such a businesses gave some advice as to where else we should go.

EUR is very much an administrative centre with at least two major offices of state parked there. The Finance Department has a fantastic frieze outside….fantastic in the sense of how it sends a shiver down the spine – Mussolini is depicted as being Mussolini on it. (lRight – first line on a horse).

Mussolini’s legacy is everywhere to be seen in this part of Rome. As much as that of Trajan and Augustus and Nero in the old city.

In the nearby “English” cemetery (Cemitero Acattolico – accessible from Pyramide Metro station) lies one of Mussolini’s greatest critics, and paid the ultimate price for it. Antonio Gramsci resided on the absolute opposite of Mussolini’s vision. Mussolini imprisoned him. And it was in prison where he died after 13 years’ incarceration. But those years were spent writing his so-called notebooks. I read a lot of Gramsci when I was a student of politics (my first degree) and to find his grave was extraordinary. No plan here, but it is what comes from random conversations with unexpected café owners in Mussolini’s new city.

Who else is in this cemetery? Well, Keats is (and his long-term friend, Joseph Severn). He went to Rome to get well (undoubtedly a better climate, but succumbed nonetheless). His tombstone bears the words “HERE LIES ONE WHOSE NAME WAS WRIT IN WATER”. This can be read in a number of ways – fleeting, ripples (when a pebble is thrown into it). He was a poet after all. You’ll find Percy Shelley there, too. What is important though is the tranquility of the space. Whilst it is notionally free to enter, a donation of 5 Euros is advised.

Rome December 2023 – Arrival and first day

26 December 2023: Once again we decided to spend the festive period away from home. Last year it was Naples, this year Rome. Whilst we do not need heat, a bit of less-cold is welcome. And maybe a little sunshine. Getting there by train is pretty straightforward. Munich-Bologna-Rome. I mention Naples because there is an interesting contrast. Many Neapolitans are on the streets on Christmas Day. Romans are not. Having arrived at Roma Termini last night, we found the Metro closed. The taxi queue was extended. We walked successfully for 30 mins to our hotel. But eat before you travel away from Termini as eateries are mostly closed.

We have been to Rome before. The Colosseum still stands and today it was heaving. As was the Pantheon. Long queues for both. But one of the significant beauties of Rome is the free culture available. Most churches are open. All have something interesting to share.

For example, the Church of San Marcello al Corso has recently commissioned some new art work. “Mothers and their Gift of Life” (right) is disconcerting. It is bronze and sculpted by Timothy Paul Schmalz. The woman in question may be Mary, but could be any woman with a baby growing inside her. This one is small (but aren’t they all?). But it is in a dish. I don’t know how to interpret that, but I read it as need and hunger, not the gift of life per se. Very odd.

If there was a theme linking my thinking today, it probably is the depiction of women. Whilst the mother is young and beautiful, there are some grotesques depicted on every building if one just looks up. The example (left) adorns the Palazzo della Consulta opposite the robust statues found in the Piazza del Quirinale.

A little along from there is an unassuming garden (Villa Carlo Alberto al Quirinale). There is a monster statue of King Carlo on his horse, but the sculptures on the plinth are really interesting (right). It is the court of Carlo and, of course, it is exclusively men. If one looks carefully, the women are depicted only as pictures on the wall! On the other side is a lot of men dying in battle. There is a lot of that in Rome. Men dying in battle.

Michael O’Leary is right and very wrong, mischievously so

Michael O’Leary (left) is the boss of RyanAir. He has spent much of his life at the helm and took it from limping Irish airline to Europe’s biggest. As he says himself, RyanAir was early into the low cost business after the skies were deregulated and have kept the advantage over rivals. He’s fabulously wealthy off the back of that success.

So, on 26 December 2023 O’Leary proclaims that there is not enough used cooking oil in the world to fuel the world’s airlines for one day, let alone a year. on that he is right. But he has made many other claims that are not defendable with even a cursory analysis. Let’s take them one by one.

O’Leary argues that air travel contributes just 2pc of carbon dioxide. Ships contribute 5pc, but no-one is shouting about global supply chains. Here are 10 points to consider.

  1. We do not measure greenhouse gases as a percentage, we measure in absolute terms. That 2pc is equivalent to 800 Mt CO2 per year. If we are to get anywhere near even 2 degrees of warming (let alone 1.5 degrees), all GHGs have to be eliminated, Even a fraction of 1pc is too much. In meeting the 1.5 degree Celsius target, the atmosphere can absorb, calculated from the beginning of 2020, no more than 400 gigatonnes (Gt) of CO2. Annual emissions of CO2 are estimated to be 42.2 Gt per year, the equivalent of 1,337 tonnes per second (https://www.mcc-berlin.net/en/research/co2-budget.html). At this rate, at the time of writing, we have 23 years before that budget is used up at current levels, but we have seen clearly how projections are changing – climate change is happening faster than expected. The models are being revised. And we continue to grow demand for fossil fuels whilst destroying carbon sinks such as oceans, forests, bogs, etc. For something most of us do not need, flying is disproportionately expensive in terms of carbon budgets.
  2. Whilst O’Leary might say that 2pc is not much, carbon emissions overall have doubled since the mid-1980s. Aviation has just kept up with the average increase in emissions across the board. Absolute emissions from aviation are increasing.
  3. Carbon generated by aeroplanes is not the same as that emitted by land-based activities. Indeed, if we consider aviation’s full impact it is more like 3.5pc. Aviation emits other greenhouse gases, and the release of water vapour at altitude significantly increases its warming impact. Accounting for this, its contribution increases by around 70%.
  4. CO2 emissions arising from aviation are not globally fair (equitable). It is the relatively rich who fly. 1 per cent emit half of GHG emission from aviation. Business class is more carbon intensive than economy. Private jets…let’s not go there. Most people on the planet have never flown (estimated between 80 to 90pc) and have not contributed to aviation-generated carbon emissions. Put another way, only 5pc of people fly in any one year (less than that for international travel). The average air traveller takes just over 5 flights per year (1).
  5. We do not adequately count all emissions. Domestic flights are ok – they are factored into national emission-counting, but international/long haul belong to no one (though airlines to count them). Incentives are not in place to reduce emissions from long-haul flights. This we must get to grips with, but recent stunts like those from Branson do not help.
  6. O’Leary seeks to distract attention – forget aviation, much better and easier to electrify cars and vehicles. Vehicular emissions are 20pc of the total with cars alone producing 3bn Mt CO2e annually. Another diversion – Air Traffic Control – if they could be more efficient there would be no need to spend hours circuling airports in stacks (the fact that there may be too many planes in the air is not considered).
  7. There is the technological fix – O’Leary has them all up his sleave. Seemingly he is “generally a believer that technology and human ingenuity will overcome climate change”. He goes on “I have no doubt that we will not decarbonise because we tax people more” So belief will get us there; though at this point in time, there are no viable electric planes in sight. Or any other fuels, for that matter.
  8. O’Leary argues that “[p]eople will absolutely not stop flying because of concerns about climate change”. This may, of course be true, but that is why we have Governments, regulations and tax to provide the incentives. What O’Leary is doing at RyanAir is expand capacity with the purchase of new fuel-efficienter aircraft. But they are not sustainable.
  9. So. let us look at the low cost base and the subsidies airlines get to maintain them. Fuel (tax) is a huge subsidy not open to land-based services. Some old data – but in 2012 the lack of tax on fuel amounted to an annual subsidy of £5.7bn. No VAT on tickets add 4bn to the total. In the UK, the Government actually reduced air passenger duty on domestic flights. Seemingly there is another £200m subsidy to the industry. And then there is the infrastructure provided by the state such as roads and rail links. Did Heathrow really need a fourth rail link to the airport with CrossRail?
  10. And on ships, there is a lot of discussion both amongst engineers, campaigners and industry about decarbonisation. Try these:

Pictures:

Michael O’Leary, World Travel & Tourism Council

RyanAir Boeing 737, By Dylaaann – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=114958876

References:

(1) Stefan Gössling, Andreas Humpe, The global scale, distribution and growth of aviation: Implications for climate change, Global Environmental Change, Volume 65, 2020;