D. 47-50 題
How many of the environmental protests staged in museums have you heard? For
instance, protesters glued themselves to the wall around Munch’s painting The Scream,
threw cans of tomato soup on Vincent van Gogh’s Fifteen Sunflowers, splashed orange liquid
at Leonardo da Vinci’s Mona Lisa, and so forth. These are all the attacks that have been taken
by groups like Just Stop Oil and Extinction Rebellion since at least May 2022. Through the
audacious act of hurling foodstuffs and pigments at priceless treasures, these activists strive
to promote public consciousness towards the pressing issue of climate change. While
undoubtedly provocative, these actions aim to convey the dire need for immediate
intervention in the face of looming ecological calamity.
The impetus behind these demonstrations stems from a profound sense of desperation
fueled by perceived inaction on the climate front. As atmospheric greenhouse gas
concentrations continue their inexorable rise, the planet hurtles towards a precipice of
catastrophic warming. Frustrated by the seeming ineffectiveness of conventional methods,
these protesters resort to disrupting the established order within cultural institutions. Their
intent is to evoke a visceral reaction, a moment of introspection regarding societal priorities
when the very foundation of our cultural tapestry, art itself, faces potential obliteration from
the consequences of climate change. Furthermore, the acts are triggered by the hypocrisy of
museums. They remain ostensibly silent on the existential threat posed by climate change
since their operation has been funded by fossil fuel industries, the greatest contributors to
global carbon pollution.
The ultimate impact of these artistic protests remains shrouded in uncertainty. While
undeniably effective in garnering media attention for the climate movement, they have also
been vehemently criticized as counterproductive, potentially alienating segments of the
public. Through sheer repetition, the climate protests risk becoming a monotonous echo
chamber. The audacious act of dousing masterpieces with culinary offerings and adhesives,
once a provocative gesture, has become commonplace, its ability to jolt the public
conscience waning with each iteration. This unintended consequence bears a disquieting
resemblance to the cyclical nature of capitalism, in which audience oversaturation breeds
apathy. Climate activists must tread cautiously, lest they fall prey to the very trap of repetitive
action they seek to dismantle.
To circumvent this counterproductive trajectory, a strategic shift in focus and
methodology is imperative. Instead of resorting to generic museum disruptions, activists
could concentrate their efforts on specific institutions demonstrably complicit in climate
inaction. Employing creative, educational tactics within these targeted institutions could
potentially sway public opinion without resorting to alienating measures. Most crucially,
fostering dialogue with the public and channeling the momentum towards direct pressure on
fossil fuel companies is paramount. Engaging the public in this urgent call to action, rather
than solely focusing on raising awareness, is key to gaining traction and achieving lasting
impact. The message remains vital, but the delivery requires strategic evolution to ensure its
continued resonance. 【題組】50. If groups like Just Stop Oil and Extinction Rebellion adopt the author’s suggestions,
which of the following is UNLIKELY to be their future plan?
(A) Target oil companies directly.
(B) Employ new strategies for message delivery.
(C) Attack the other inactive administrative agencies.
(D) Discuss and brainstorm the action with the public.
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