Surprise, surprise: Wind turbines do lower carbon emissions

Counter-intuitive thinking is counter-intuitive for a reason.

Climate sceptics have long made the counter-intuitive claim that wind turbines don't actually reduce carbon emissions, but data analysed by the Guardian's environment blog suggests that as well as being counter-intuitive, it's just plain false.

The claim the Guardian's Chris Goodall and Mark Lynas investigated relies on the fact that wind power fluctuates with the weather. As a result, when the windspeed drops, gas power stations have to be spun up to provide electricity instead. It has to be gas, because other low-carbon sources of energy either have the same fluctuations as wind, or, like nuclear power, essentially can't be turned off.

The sceptics argue that the need to rapidly turn on the gas generators means that a type of power station known as a "gas-fired open cycle turbine" (OCGT) has to be used. Their key point is that these turbines, which are capable of being put into use extremely quickly, are less efficient than another type of gas generator, a "combined cycle gas turbine" (CCGT). The need to pick up the slack left by wind power, they say, means that so many of these inefficient turbines are used that carbon emissions actually go up compared to the scenario where all the electricity is generated with the more efficient CCGT type.

The Guardian's blog contains a lot of stats taken straight from the National Grid, all of which confirm the intuitive beliefs: wind power replaces fossil fuels. But for the specific claim that it still results in higher carbon emissions, the operative paragraph is the following:

Their arguments are not borne out by current statistics, however. If the sceptics were right, the recent windy conditions would have seen considerable use of less-efficient OCGT as wind input to the grid ramped up and down. In actual fact, during the entire June-September period, OCGTs and equally dirty oil-fired stations produced less than one hundredth of one percent of all UK electricity. In total they operated for a grand total of just nine half hour periods in the first 19 days of the month – and these periods had nothing to do with changing windspeeds.

In other words, the mechanism the sceptics suggested might be at work isn't. The authors go into greater detail about why that is, as well. In essence, it comes down to the fact that wind power isn't actually all that unpredictable. It comes and goes, but we usually have a good few hours warning about when it's going to die down; and it's spread throughout the country, allowing even more flattening of the peaks and troughs in supply.

The bigger reason for having to suddenly spin up big generators isn't sudden drops in supply, but sudden peaks in demand. Take, for example, a World Cup match, where England have made it through to sudden death penalties. The National Grid know there will be a spike in power consumption the minute the match ends, as people get up to put the kettle on – but they can't know when that spike will be until mere seconds before it actually happens. That sort of load will always be problematic to supply with renewables – but it's not much less problematic to supply with fossil fuel either.

Wind turbines. Photograph: Getty Images

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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How “cli-fi” novels humanise the science of climate change

The paradox is that the harder climate-fiction novels try, the less effective they are.

When the Paris UN Climate Change Conference begins at the end of November, the world’s leaders will review the climate framework agreed in Rio in 1992. For well over 20 years, the world has not just been thinking and talking about climate change, it has also been writing and reading about it, in blogs, newspapers, magazines – and in novels.

Climate change fiction is now a recognisable literary phenomenon replete with its own nickname: “cli-fi”. The term was coined in 2007 by Taiwan-based blogger Dan Bloom. Since then, its use has spread: it was even tweeted by Margaret Atwood in 2013:

It is not a genre in the accepted scholarly sense, since it lacks the plot formulas or stylistic conventions that tend to define genres (such as science fiction or the western). However, it does name a remarkable recent literary and publishing trend.

A 21st-century phenomenon?

Putting a number to this phenomenon depends, partly, on how one defines cli-fi. How much of a novel has to be devoted to climate change before it is considered cli-fi? Should we restrict the term to novels about man-made global warming? (If we don’t, we should remember that narratives about global climatic change are as old as The Epic of Gilgamesh and the Biblical story of the flood.) If we define cli-fi as fictional treatments of climate change caused by human activity in terms of setting, theme or plot – and accept there will be grey areas in the extent of this treatment – a conservative estimate would put the all-time number of cli-fi novels at 150 and growing. This is the figure put forward by Adam Trexler, who has worked with me to survey the development of cli-fi.

This definition also gives us a start date for cli-fi’s history. While planetary climatic change occurs in much 20th-century science fiction, it is only after growing scientific awareness of specifically man-made, carbon-induced climate change in the 1960s and 1970s that novels on this subject emerged. The first is Arthur Herzog’s Heat in 1976, followed by George Turner’s The Sun and the Summer (published in the US as Drowning Towers) in 1987.

At the turn of this century, Maggie Gee and TC Boyle were among the first mainstream authors to publish climate change novels. In this century, we can count Atwood, Michael Crichton, Barbara Kingsolver, Ian McEwan, Kim Stanley Robinson, Ilija Trojanow and Jeanette Winterson as major authors who have written about climate change. The past five years have given us notable examples of cli-fi by emerging authors, such as Steven Amsterdam, Edan Lepucki, Jane Rawson, Nathaniel Rich and Antti Tuomainen.

Creative challenges

Cli-fi is all the more noteworthy considering the creative challenge posed by climate change. First, there is the problem of scale – spatial and temporal. Climate change affects the entire planet and all its species – and concerns the end of this planet as we know it. Novels, by contrast, conventionally concern the actions of individual protagonists and/or, sometimes, small communities.

Added to this is the networked nature of climate change: in physical terms, the climate is a large, complex system whose effects are difficult to model. In socio-cultural terms, solutions require intergovernmental agreement – just what COP21 intends – and various top-down and bottom-up transformations. Finally, there exists the difficulty of translating scientific information, with all its predictive uncertainty, into something both accurate and interesting to the average reader.

Still, cli-fi writers have adopted a range of strategies to engage their readers. Many cli-fi novels could be classified as dystopian, post-apocalyptic or, indeed, both – depicting nightmarish societies triggered by sometimes catastrophic climate events. A future world is one effective way of narrating the planetary condition of climate change.

Some novelists are also careful to underpin their scenarios with rigorous climatic predictions and, in this way, translate science fact into a fictional setting. Kingsolver, who trained as an ecologist, is the best example of this – and Atwood and Robinson are also known for their attempts at making their speculations scientifically plausible. Also, cli-fi novels, particularly those set in the present day or very near future rather than in a dystopian future, tend to show the political or psychological dimensions of living with climate change. Readers can identify with protagonists. To some extent, the global community is represented in fictional everymen or everywomen. Or, often, it is through such characters that science is humanised and its role in combating climate change better understood.

Can cli-fi lead to change?

Could cli-fi affect how we think and act on climate change? The paradox is that the harder cli-fi tries, the less effective it is. Many writers want to inspire change, not insist on it: the line between literature and propaganda is one that most novelists respect. Literature invites us to inhabit other worlds and live other lives. Cli-fi at its best lets us travel to climate-changed worlds, to strive there alongside others and then to return armed with that experience.

In Paris, the UN will seek a global agreement on climate action for the first time in more than 20 years. There is plenty of climate change fiction out there to help provide the mental and psychological space to consider that action.

The Conversation

Adeline Johns-Putra, Reader in English Literature, University of Surrey

This article was originally published on The Conversation. Read the original article.