Abstract

In environmental communication, audience engagement is an essential prerequisite for achieving persuasive aims. This article responds to recent interest in visual storytelling and emotionalization – purposeful display and elicitation of emotions – as engagement techniques. A case study of the 2020 Global Biodiversity Festival – part online science festival, part fundraising event – provides evidence of how these techniques are employed in environmental communication for biodiversity conservation. Informed by scholarship on affect, emotion, visual rhetoric, and environmental communication, the case study analysis shows how visual representations of nature, mediated experiences of nature, and accompanying narration orient festival audiences toward specific ways of seeing and feeling that foreground emotional commitments and draw audiences into potentially transformative encounters. The visual rhetoric and affective dimensions of the festival’s website, virtual fi eld trips, and multimodal presentations focus attention, create moments of connection, and call audiences to action. The case study analysis also reveals how the festival, planned in response to the COVID-19 pandemic, treats this crisis as a kairotic moment for encouraging awareness, care, and pro-environmental behaviors.

Highlights

  • In environmental communication, audience engagement is an essential prerequisite for achieving persuasive aims

  • On this second day of the Global Biodiversity Festival, I am on a virtual field trip, livestreamed from Ol Pejeta Conservancy in Kenya

  • I turn from the festival website to the virtual field trips as I continue to analyze the affective dimensions of visual rhetoric for biodiversity conservation

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Summary

Global Biodiversity Festival as Rhetorical and Spectacular

Davies (2019, 538) notes, “are an increasingly important part of the landscape of science communication.” For researchers interested in the affective dimensions of public engagement with science (Davies 2019, 539), a festival can be analyzed as a rhetorical event designed to be attended and to be seen and experienced. The image provides an example of “micropolitical orchestration of allure at work” (Barua 2020, 681) It appeals to shared values (it is right and good to protect beautiful, amazing things) and elicits affective response (a wow moment in which viewers behold with wonder this “amazing” biodiversity). The photos that feature animals are “lively” representations of “charismatic life” (Lousley 2016, 707), and the animals serve as ambassadors of “the amazing diversity of life on our planet.” While such images are engaging, Lousley (2016, 708) questions whether “spectacle” may “reinforce the alienation of viewing audiences from the living and ecological relations” that produce “liveliness.” During the forced isolation of the COVID-19 pandemic, I believe such images, rather than reinforcing alienation, serve to connect viewers to “living and ecological relations” in a meaningful way. I turn from the festival website to the virtual field trips as I continue to analyze the affective dimensions of visual rhetoric for biodiversity conservation

Virtual Field Trips as Affective Encounters
Visual Storytelling and Emotionalization for Biodiversity Conservation
Conclusion
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