Thank you!
Your support is sustaining the future of local news in our communities.

The environment: Not so fast, facts are not simple

On Feb. 23, a NASA satellite was launched, called Glory, to study the subtle ways solar radiance influences the planet’s climate. Why?

“We are trying to achieve better measurements of both aerosols and total solar irradiance in order to calculate the energy budget — the amount of energy entering and exiting earth’s atmosphere — as accurately as possible,” said Michael Mishchenko of NASA’s Goddard Institute of Space Studies (GISS) in New York.

Meanwhile, the Laboratory for Atmospheric and Space Physics at the University of Colorado-Boulder has been keeping track of solar irradiance for years, just not with the same accuracy as Glory will. Previous satellites have shown that the sun’s irradiance fluctuates by 0.1 percent due to variations in solar electromagnetic activity, which seem to fall in 11-year cycles.

The point of all this study, however, is really this: Scientists are unclear how much industrial and agricultural activities influence global warming as compared to natural forces and fluctuations. Loads of anti-global climate change pundits have seized on this scientific statement to claim, “Aha, see they have been lying about global warming and environmental dangers.”

Well, no, that is not what these very real scientists are saying. What they are saying is this: We know for sure (get that? For Sure) there is environmental degradation taking place at an alarming rate. The rate over the last 100 years is 100 times faster than any core sample, any rock sample, any gas sample tested on earth.

What we do not know is whether the solar irradiance cycles are making it worse or better and, as James Hansen, director of GISS, said, “The range of uncertainty associated with the climate impact of aerosols is three to four times that of greenhouse gases.”

The point is greenhouse gases are certain, they are being measured, they can calculate their impact, but what they need to do is add in two more variables into the environmental impact equations: solar irradiance and aerosols. With better data from Glory, they should be able to refine their environmental models.

But — and here’s the point for the nay-sayers — what they are doing is refining the equations for global environmental degradation already underway, for certain. To what degree? With what precision are their predictions made? Ah, that is the world of science … you measure and then measure again and again. You try and perfect the numbers.

In carpentry there is a saying, “Measure twice before you cut.” When it comes to the environment, the earth’s resources, our consumption and pollution, the solar irradiance, natural forces (volcanoes, etc.), aerosol gases leaving/impacting our atmosphere, the ocean’s and northern forests’ healing ability — all these require constant measurement before we will know for sure how long and when.

“What” we already know. It is called sudden global climate change affecting every living being on earth already — with predictions ranging from 100 years to even shorter schedules before life as we know it ceases.

The “why” we also know, but are afraid to own up to — it is called human over-activity everywhere on this only home planet of ours.

There is only one Earth. I wish we could remember that and err on the side of caution, or at least listen to the scientists who know.

Peter Riva, formerly of Amenia Union, lives in New Mexico.

Latest News

‘So Little to Do,’ so much to discover at James Barron Art

Curator Deborah Goodman Davis reads the Emily Dickinson poem “The Grass So Little Has to Do.” Spencer Finch’s “Following Three Bees (Zinnias)” buzzes in the background.

Photo by Natalia Zukerman

“The Grass Has So Little to Do,” on view at James Barron Art in Kent, takes its title from Emily Dickinson’s poem “The Grass So Little Has to Do,” written in 1862:

“The Grass so little has to do—
A Sphere of simple Green—
With only Butterflies to brood
And Bees to entertain—”

Keep ReadingShow less

Marina Kotchoubey is not a woodworker

Marina Kotchoubey is not a woodworker

Marina Kotchoubey at the Ian Ingersoll Cabinetmakers showroom in West Cornwall.

Photo by D.H. Callahan

After 40-something years navigating the world of custom fine furniture, Ian Ingersoll was getting ready to retire. Starting off with a little dovetail stool that he sold at a shop in West Cornwall in the 1970s, he’d grown his skill and his business into something he — and the whole town — could be proud of. Shutting down that business was not an option.

Ingersoll built Ian Ingersoll Cabinetmakers, which produced mainly classical Shaker furniture, on passion: the passion he had to make a living through creative challenges and the passion of his employees, who all seem deeply in love with their craft.

Keep ReadingShow less
A legacy of giving at Norfolk Chamber Music Festival

One hundred and twenty years ago, Carl and Ellen Stoeckel commissioned New York architect E.K. Rossiter to design The Music Shed in Norfolk, Connecticut. After nearly a decade of entertaining their friends and neighbors with the finest music of the day, they built a permanent home for their beloved Litchfield County Choral Union.

The commission and full funding of the construction was not unheard of in an era when great fortunes led to public enrichment. Railroad tycoon John D. Rockefeller was instrumental in funding institutes of higher education. Steel baron Andrew Carnegie was building libraries all over the country, and famously said that a man who dies rich is a disgrace, challenging his peers to give their fortunes back to the people.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Two unique exhibitions at Geary Gallery

Henry Klimowicz with his sculpture, “Partial Pillar 1”

Photo by D.H. Callahan

On Saturday, Aug. 1, Geary Gallery opened its doors in Salisbury for two unique shows in its first- and second-floor gallery spaces. Art lovers flooded both floors over the course of the afternoon, giving the events a vibrant feeling that enhanced the importance of the art.

On the first floor is a show by Chicago-born, Colorado-based photographer Summers Moore, titled “Lobitos: Pueblo Fantasma,” or “Lobitos: Ghost Town.” The work centers around her daughter’s current hometown in Peru. Moore herself found a home away from home in Colorado in the mid-1980s and encouraged her children to seek out new places outside of their comfort zones.

Keep ReadingShow less

Writer’s retreat in the woods

Writer’s retreat in the woods

Participants in a 2024 Great Mountain Forest Woodland Academy workshop at Yale Camp.

Photo by Mike Zarfos

Great Mountain Forest (GMF) will host its first Nature Writing Retreat at the historic Yale Camp in Falls Village from Aug. 7-9, 2026. Writers of all levels are invited to draw inspiration from one of New England’s most notable forest landscapes. GMF envisions the retreat becoming an annual event celebrating writing, conservation and the relationship between people and forests.

This immersive three-day retreat reflects on the legacy of Hal Borland, the American writer and New York Times nature columnist whose work was deeply connected to this landscape. The retreat explores how wilderness shapes language, strengthens close observation and fosters environmental consciousness.

Keep ReadingShow less
From Cornwall to Rome, Adam Van Doren at Berkshire Botanical Garden

Artist Adam Van Doren and curator Donna Hassler talk to a group of visitors at the Berkshire Botanical Garden. A Stephen Proctor vessel sits to their left.

Photo by Natalia Zukerman

This summer, the Berkshire Botanical Garden in Stockbridge has hosted “Grounded in Nature: Paintings by Adam Van Doren,” an exhibition exploring the intimate relationship between architecture and the natural world.

On view for only a few more weeks in the Leonhardt Galleries, the exhibition features more than 35 watercolor and oil paintings by the New York-based artist, architect, author and Yale professor, curated by art historian Donna Hassler, director emerita of Chesterwood. The works span three distinct places that have shaped Van Doren’s artistic practice: New York City, Cornwall, Connecticut, and his travels throughout Europe.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.