Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Genetically engineered organisms have been at the center of ethical debates among the public and regulators over their potential risks and benefits to the environment and society. Unlike the currently commercial GE crops that express resistance or tolerance to pesticides or herbicides, a new GE crop produces two bioactive nutrients and docosahexaenoic acid ) that heretofore have largely been produced only in aquatic environments. This represents a novel category of risk to ecosystem functioning. The present paper describes why growing oilseed (...) crops engineered to produce EPA and DHA means introducing into a terrestrial ecosystem a pair of highly bioactive nutrients that are novel to terrestrial ecosystems and why that may have ecological and physiological consequences. More importantly perhaps, this paper argues that discussion of this novel risk represents an opportunity to examine the way the debate over genetically modified crops is being conducted. (shrink)

Introduction. Artificial intelligence is a trend of NBIC-convergence and information technologies in particular. Since the 70s of the 20th century it has been a subject of intense debate in the scientific community. A direct indicator of the importance of the topic is the publication dynamics and the annual increase in the number of indexed articles. According to the statistics, Western social sciences are in the top five industry leaders. The purpose of the study is to analyze the Scopus database and (...) identify the key mythologems of the scientific discourse of social sciences (in the field of artificial intelligence). The latter go beyond the boundaries of research norms and standards and express non-reflective research intentions. Methods. The reference base of scientific arti- cles includes works published during the decade (2010—2020). Methods for detecting verbal mark- ers and content analysis were used. At the same time, the emphasis was mainly placed not on quan- titative, but on qualitative analytics as well. The basis for the choice of markers was the frequency of their use in abstracts (abstracts), headings (titles) and keywords. The selection of verbal markers was made in accordance with two conditionally desig- nated categories: «trends», or frequency engineering, technical and social and humanitarian terms, expressing the direction of research practic- es and «mythologemes», or elements of a second- ary semiotic system. Scientific novelty of the study. Scientific novelty is due to the specification of the research subject. In the West, the direction of the so-called «Tech- nological mythology», which focuses mainly on the discourses of art and ideological documents is being developed. The analytics of scientific content makes it possible to remove the existing research limitations of the subject and identify prospects for further study of modern mythology. Content analysis made it possible to identify some extreme- ly general formulations of technological mythologe- mes, which can be refined and concretized. Results. Following the results of the study, a de- scription of three metatrends was made — techno- logical, social and anthropological. All key directions within the boundaries of each trend are listed. At the same time, it is argued that the anthropotrend has a relatively smaller share in the discourse of Western social sciences. As a debatable aspect of the study, five scientific mythologemes were iden- tified and conditionally designated. Interpretations and characteristic examples of the functioning of each are offered. Conclusion. The technological trend is constituted by the data of technical sciences and engineering developments with a social orientation. Sociotrend is determined by the spectrum of technology application areas. The conclusion is made about the diffusion of two trends and the discourses serving these trends. Discursively, the technotrend serves to construct a strictly scientific discourse based not on abstract, but on specific and precise proposi- tions. Particular attention is paid to the discursive mainstream of «smartization», which is characteris- tic of the scientific content of the second decade of the 21st century. Emphasis is placed on the anthro- pological risks of extrapolating «smartization» to specialized practices. (shrink)

Eden In Iraq is an environmental design and water remediation project in the marshes of southern Iraq using design and wastewater as bio-art, to create a restorative garden for education, cultural memory, and contemplation. Earmarked for a 20,000 m2 site at Al Manar in the marshes between the Tigris and Euphrates rivers, near a probable site of the historic Garden of Eden, Eden in Iraq is a project that brings, art, design, and technology together with culture and history. Drawing on (...) Islamic and Mesopotamian traditions originating in this historically and symbolically charged region, the Eden in Iraq Waste Water Garden is designed to be a syncretic container for ecological and cultural restoration and heritage after the time of war. This paper looks at this project from three inter-related activities, namely, treatment of wastewater suitable for growing a large scale garden, design of the garden starting from the Islamic garden design principles and thirdly, reviving the cultural heritage of the pre-Islamic, Mesopotamian art in contemporary forms.Graphic abstract. (shrink)

Posthumanism has come to synthesize philosophical, literary, and artistic responses to the pressures of technology, globalization, and mass extinction in the Anthropocene. It asks what it can mean to be human in an increasingly more-than-human world that has lost faith in the ideal of humanism, the autonomous, rational subject, and it models generative alternatives cognizant of the demands of social and ecological justice. Posthumanism in Art and Science is an anthology of indispensable statements and artworks that provide an unprecedented mapping (...) of this intellectual and aesthetic shift in a global context. It extends across a broad range of fields such as art theory, media studies, continental philosophy, natural science, literary studies, aesthetics, psychoanalysis, environmental humanities, social and political theory, and animal studies. The reader features a diverse sampling of major thinkers including Donna Haraway, Rosi Braidotti, Michael Marder, Karen Barad, Alexander Weheliye, Jay Prosser, Anna Tsing, Graham Harman, Timothy Morton, N. Katherine Hayles, Jane Bennett, Bruno Latour, Francesca Ferrando, and Cary Wolfe, as well as innovative, acclaimed artists and curators such as Yvonne Rainer, Chus Martínez, William Wegman, Nandipha Mntambo, Cassils, Pauline Oliveros, Doo-sung Yoo, and Gavin Steingo. Their provocative and compelling works, including previously unpublished interviews and essays, speak to the ongoing conceptual and political challenge of posthuman theories in a time of unprecedented cultural and environmental crises. An essential primer and reference for educators, students, artists, and art enthusiasts, this volume offers a powerful framework for rethinking anthropocentric certitudes and reenvisioning equitable and sustainable futures. (shrink)

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In (...) the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners’ awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. (shrink)

Arts, Ecologies, Transitions provides in depth insights into how aesthetic relations and current artistic practices are fundamentally ecological and intrinsically connected to the world. As art is created in a given historic temporality, it presents specific modalities of productive and sensory relations to the world. With contributions from more than 45 researchers, this book tracks evolutions in the arts that demonstrate an awareness of the environmental, economic, social, and political crises. It proposes interdisciplinary approaches to art that clarify the multiple (...) relationships between art and ecology through an exploration of key concepts such as collapsonauts, degrowth, place, recycling, and walking art. All the artistic fields are addressed from visual arts, theatre, dance, music and sound art, cinema, photography, including those that are rarely represented in research such as digital creation or graphic design, to showcase the diversity of artistic practices in transition. Through original research this book presents ideas in an accessible format. It book will be of interest to students and researchers in the fields of environmental studies, ecology, geography, cultural studies, architecture, performance studies, visual arts, cinema, music and literature studies. (shrink)

In the present condition of planetary environmental crises, violence, and war, entire ecosystems are annihilated, habitats turn into unliveable spaces, and shared “more-than-human” vulnerabilities get amplified. Here and now, death and loss become urgent environmental concerns, while the Anthropocene-induced anxiety, anger, and grief are manifested in popular-scientific narratives, art, culture, and activism. Grounded in the theoretical framework of queer death studies, this article explores present grief imaginaries and engagements with more-than-human death, dying, and extinction, as they are interwoven through contemporary (...) art. It is there where an ecological ontology of death is being exposed and ethical territories of eco-grief unfold. (shrink)

The climb of Gasherbrum IV’s (7,925 m) ‘Shining Wall’ in 1985 by Voytek Kurtyka and Robert Schauer is considered one of the greatest mountaineering achievements in the twentieth century, even though the two climbers did not reach the summit. The article explores three ways of understanding mountaineering without the objective of reaching the summit. I start with a game-playing approach and then a view on mountaineering that takes its inspiration from deep ecology and argue that while both have the (...) potential for explaining important aspects of mountaineering, neither will fully account for the value of climbing mountains without summiting. Finally, I argue that we can supplement either of these two views with a radically different way of understanding mountaineering, which involves creating and appreciating a work of art. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

The main notion of this article is that the blurring of the limits between offline and online dimensions of knowledge and experience, in addition to the manipulation of genes, neurons, atoms and bits, is dissolving the distinction between subjectivism (i.e. idealism) and materialism (i.e. objectivism and realism). As a consequence, in the moistmedia (from Ascott) ecology in which we are increasingly immersed, a radical kind of experience of matter, time, space and self is emerging. In this form of experience, (...) the blending of subjectivist and materialist approaches help in overcoming the classical Cartesian polarity: we feel part of an extended reality, and we feel this extended reality in ourselves by combining bodies, points of view and multiple senses with digital layers of everything. The article proposes these research questions: Which are the main factors that shape the change toward a moistmedia ecology resulting from the impact of the manipulation of genes, neurons, bits and atoms? Which transformation is being shaped in relation to the previous model of experience? What are the features of the new forms of materiality, sensitivity and action? How artists are putting themselves at risk in the moistmedia ecology? The hypothesis is that a hybrid kind of interval is opening between different layers of reality: analogue versus digital; nature versus culture; here versus there; past versus future; I versus others; and human versus non-human. In this recombination process, a third dimension of reality – that I call ‘radical reality’ – emerges in the moistmedia ecology. This article will analyse the radical experience (Wilson) in moistmedia environments by crossing the five dimensions (matter, space, time, identity and action) with the practices of manipulation of genes, atoms and bits using examples from art and design. This crossing shows the basic dimensions and sub-dimensions of the ‘Model of Radical Experience’ to reveal the nature of this third dimension between subjectivism and materialism, which is explored by artists who put themselves at risk in the turbulent zone between the physical and the digital. (shrink)

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences related to ordinary objects and everyday contexts. Here, we follow an ecological approach assuming that art experience has its own specific quality that is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidences gained in this manner, we emulate (...) and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large scale paintings by Pollock and Rothko preferred viewing distances as well as distances inducing most intense art experiences including Aesthetic Aha insights were much larger than typical viewing distances realized in lab studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts), enables us to understand and investigate much closer what is really happening when people experience art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 61-73 [Access article in PDF] Free Words to Free ManifestaSome Experiments in Art as Gift Sal Randolph Free Words It began this way. Standing nervously in a bookstore, in front of the section on literary theory, hidden from the eyes of the staff, I reached my hand into my bag like a thief and pulled out a hot pink book. I looked up (...) and down the aisle. No one was watching. O.K., now. I slipped it into the shelf among the F's (file under Free) and it was done.So I began my career as in infiltrator of public spaces, a thief not of books but of shelf space, of access. A bypasser of gateways, permissions, and procedures.The book was called Free Words, and was an art project of mine. Its content was a list of 13,000 words I had collected over ten years. I had uncopyrighted the text, placing it in the public domain (no rights reserved), and labeled the book as free. No price tag, no barcode, no ISBN. The back cover said only "this book belongs to whoever finds it." I had printed 1,000 copies of it, and the idea was to create a kind of situation.Someone who came across the book would have to decide what it was and who really owned it. If they wanted it, they would have to decide whether to walk out with it like a shoplifter, or whether to negotiate something [End Page 61] with the sales clerk. Bookstores would have to either purge the book or harbor it. There was a brief explanation and a web address at the back of the book, and if anyone made it to the site there was an invitation to become a distributor of the book, to join in the process of placing it in bookstores and libraries.I spent a few months like that as 2001 came to a close: October, November, December; walking through a New York stunned by September 11, developing the habit of nonobedience. 1 This was the time when the media was telling us to shop, when we were being told to agree,as if agreement and shopping were the definition and extent of our citizenship.At first I was nervous, afraid of being stopped, but after a couple hundred books I relaxed. I was never questioned. The more I did it, the more the commercial space of the city seemed like public space, my space. The city, recovering month by month, felt more like an ecology—a human social ecology, intricate and interdependent. There were more ways of living within it and participating in it than I had supposed.One of the questions raised by cities is who we are in them. How do we find ourselves as individuals, as agents? What kinds of citizenship are possible? Something about this project changed my relationship to the city from being a passive inhabitant of its structures, both social and architectural, to being more active, as I began to feel free to engage those structures more playfully, and to create new structures.As the winter deepened, the Free Words project began to develop in a surprising way. On the website I invited people to become volunteer distributors of the book. I expected that a small number of people would find their way from the book to the website and an even smaller number of those might become distributors. What happened was something quite different: a few people did find the book and the website, but they weren't all interested in simply becoming distributors themselves. Some of them told the story of Free Words on various online forums, journals, and blogs, passing it on through their internet communities. Dozens of people who had never seen a copy of the book found their way to the site, and I began shipping batches of books to volunteers all over the country and the world. I printed more, and then more again.For me the project became like a kind of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 61-73 [Access article in PDF] Free Words to Free ManifestaSome Experiments in Art as Gift Sal Randolph Free Words It began this way. Standing nervously in a bookstore, in front of the section on literary theory, hidden from the eyes of the staff, I reached my hand into my bag like a thief and pulled out a hot pink book. I looked up (...) and down the aisle. No one was watching. O.K., now. I slipped it into the shelf among the F's (file under Free) and it was done.So I began my career as in infiltrator of public spaces, a thief not of books but of shelf space, of access. A bypasser of gateways, permissions, and procedures.The book was called Free Words, and was an art project of mine. Its content was a list of 13,000 words I had collected over ten years. I had uncopyrighted the text, placing it in the public domain (no rights reserved), and labeled the book as free. No price tag, no barcode, no ISBN. The back cover said only "this book belongs to whoever finds it." I had printed 1,000 copies of it, and the idea was to create a kind of situation.Someone who came across the book would have to decide what it was and who really owned it. If they wanted it, they would have to decide whether to walk out with it like a shoplifter, or whether to negotiate something [End Page 61] with the sales clerk. Bookstores would have to either purge the book or harbor it. There was a brief explanation and a web address at the back of the book, and if anyone made it to the site there was an invitation to become a distributor of the book, to join in the process of placing it in bookstores and libraries.I spent a few months like that as 2001 came to a close: October, November, December; walking through a New York stunned by September 11, developing the habit of nonobedience. 1 This was the time when the media was telling us to shop, when we were being told to agree,as if agreement and shopping were the definition and extent of our citizenship.At first I was nervous, afraid of being stopped, but after a couple hundred books I relaxed. I was never questioned. The more I did it, the more the commercial space of the city seemed like public space, my space. The city, recovering month by month, felt more like an ecology—a human social ecology, intricate and interdependent. There were more ways of living within it and participating in it than I had supposed.One of the questions raised by cities is who we are in them. How do we find ourselves as individuals, as agents? What kinds of citizenship are possible? Something about this project changed my relationship to the city from being a passive inhabitant of its structures, both social and architectural, to being more active, as I began to feel free to engage those structures more playfully, and to create new structures.As the winter deepened, the Free Words project began to develop in a surprising way. On the website I invited people to become volunteer distributors of the book. I expected that a small number of people would find their way from the book to the website and an even smaller number of those might become distributors. What happened was something quite different: a few people did find the book and the website, but they weren't all interested in simply becoming distributors themselves. Some of them told the story of Free Words on various online forums, journals, and blogs, passing it on through their internet communities. Dozens of people who had never seen a copy of the book found their way to the site, and I began shipping batches of books to volunteers all over the country and the world. I printed more, and then more again.For me the project became like a kind of... (shrink)

In the twenty-first century, there has been a resurgence of ecologically conscious art among artists using new technologies. Like Eco-art, this recent movement, which might be called Eco-media, is interdisciplinary. Eco-media is heavily influenced by developments in environmental science, in particular developments in remote imaging and other kinds of remote Earth sensing (for example, the widespread use of satellite imaging and GPS) and developments in computer modelling (for example, detailed global models of climate that not only model the physics of (...) the Earth and solar system, but also explore the chemistry and biology of the Earth). This article will discuss developments in media art related to the computerized interpretation of complex data sets describing and modelling the natural world. It will explore work that has historically straddled artistic and scientific development, specifically Marey's work in the nineteenth century in photography and motion pictures and give examples of artists who are working in the area in-between art and science today. It will also discuss connections between this work and the historical Romantic sublime and the political dimension of this work as advocating for the preservation of the natural world, and give examples of some of the author's artworks in this area. (shrink)

In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an (...) event that distinguishes human from other organisms. Against this background, this article explores how contemporary art—in particular, the series of works The Absence of Alice by Australian new-media and bioartist Svenja Kratz—challenges the normative and human-exceptionalist concept of death. By employing queerfeminist biophilosophy as a strategy that focuses on relations, processes and transformations instead of ‘essences’, the article examines the ways Kratz’s works deterritorialise the conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living. (shrink)

The question of whether there are laws in ecology is important for a number of reasons. If, as some have suggested, there are no ecological laws, this would seem to distinguish ecology from other branches of science, such as physics. It could also make a difference to the methodology of ecology. If there are no laws to be discovered, ecologists would seem to be in the business of merely supplying a suite of useful models. These models would (...) need to be assessed for their empirical adequacy but not for their ability to capture fundamental truths, or the like. If, on the other hand, ecology does have laws, this prompts further questions about what these laws are and why even the best candidates for ecological laws fall short of what might be expected of laws. (shrink)

Preview: /Review: Timothy Morton, All Art is Ecological, (London: Penguin Books, 2021), 105 pages./ The book All Art is Ecological provides a provocative and entertaining, but no less concise and instructive study into the nature of the relationship between art and ecological awareness – from the perspective of one of the leading object-oriented ontologists of our time. In that sense, this book can also be read as a short introduction to Morton’s philosophy, which judging by his other books, provides solid (...) theoretical foundations for a critical reflection on the contemporary human condition. (shrink)

Philosophers, scientists, and artists alike are prone to explore important questions concerning ecology as it relates to the impact of human actions for the future of nature and human civilizations. The main focus in this essay is to consider ecological implications of art understood as a form of leisure. Art is of course more than leisure for the artists and other arts professionals, but its personal and societal roles also serve as leisure activities. Both the production of art and (...) its consumption have important ecological implications. Select philosophical (Hegel) and scientific (Escobar) concerning art and nature provide a context for exploring art’s role in ecology. Complementing the philosophical and scientific understanding of ecological concerns are the efforts of artists and arts institutions to address ecological concerns both in their creative works and in assessing ecological implications of their respective practices. Ecology concerns environmental relationships taking place among the elements of nature (weather, land and water for example) that relate to evolutionary change and the effects on life in the built environments that comprise human civilizations. [i] Leisure, as I shall understand it here functions as a creative force in the life of human persons. [i]Robert A. Stebbins, “Leisure, Happiness, and Positive Lifestyle” and John Haworth, “Leisure, Life, Enjoyment,” in editors, Sam Elkingtonand Sean J. Gammon, Contemporary Perspectives in Leisure (London and New York: Routledge, 2014), 28-64. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 22-36 [Access article in PDF] Art or Nature?Aristotle, Restoration Ecology, and Flowforms Trish Glazebrook He to whom nature begins to reveal her open secrets will feel an irresistible yearning for her most worthy interpreter: Art. 1Aristotle believed strongly in a distinction between artifact (technê) and nature (physis). He intended by "technê" more than is generally understood by the contemporary term "art," for (...) he meant anything produced by human intention. For example, for Aristotle medicine was technê in that the doctor produces health. The key point in distinguishing art from nature for him was that things in nature grow and develop on the basis of an internal principle of change, whereas artistic production requires an outside agent. There are some complications with the Aristotelian account: are the spider's web and the bird's nest art or nature? Aristotle can respond to this problem easily enough by arguing that spiders and birds create on the basis of instinct, while reason is requisite for artistic production. Yet some art may not meet this definition: artists may not always have a full conception of the work to be produced prior to its execution. Creativity can be emergent rather than intentional during the productive process, and may arise, for example, from the artist's interaction with the chosen material. [End Page 22]Despite these objections to the Aristotelian distinction, however, his analysis of the differences between art and nature can be usefully applied to recent debates in restoration ecology in order to argue that the human capacity to restore nature does not justify its destruction. Nature cannot be "faked," that is, recreated through art. Furthermore, the Aristotelian analysis has been influential historically by providing a conceptual basis for the technological domination of nature, as if nature were nothing more than matter upon which form can be imposed. Yet there are alternative possibilities in Aristotle's account that ecologically-minded art can bring to fruition. I will use Aristotle's analysis to suggest a potential resolution of the "faking nature" debate, and accordingly to show how contemporary, ecologically-minded art can promote an ideology of production that works with rather than against nature.Robert Elliot argues that restoration ecology does not justify environmental destruction, because faked nature (that is, nature re-created by human artifice) is not as valuable as the original. 2 I will call this claim, which is based on the idea that restoration is analogous to artistic production, "the Elliot view." I will first assess the Elliot view, and give reasons why I sympathize with his conclusions, yet find his arguments unconvincing. Second, I will present Aristotle's distinction between nature and art, with emphasis on his arguments that nature is goal-directed, in order to give content to the claim that nature has intrinsic value. Third, I will look at restoration policies and practices in the oil industry in Alberta, Canada, to establish a praxical notion of restoration, and to support Elliot's claim that nature cannot be faked. I have chosen oilfield restoration as a working example for the sake of the general methodological principle that praxes without reflections are blind, while reflections that transcend the lifeworld are empty; and specifically because Alberta leads the industry in restoration standards and practices. Finally, I will use Flowforms to argue that ecologically-minded art can demonstrate how production of artifacts need not affirm a logic of domination, but rather can open a space for an alternative conception of the human relation to nature. The Elliot View Elliot's view depends on distinguishing nature from art, and attributing a greater value to the natural. On what basis should we accept this value-hierarchy? The reasons Elliot gives are less than convincing. Ultimately his arguments rest on two points: that copies are not as good as [End Page 23] originals; and that even if an ecosystem's value could be fully restored, the value lost in the time between despoilation and restoration is irrecoverable. He simply finds "naturalness" to be more valuable than artifice. But he is not alone in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 22-36 [Access article in PDF] Art or Nature?Aristotle, Restoration Ecology, and Flowforms Trish Glazebrook He to whom nature begins to reveal her open secrets will feel an irresistible yearning for her most worthy interpreter: Art. 1Aristotle believed strongly in a distinction between artifact (technê) and nature (physis). He intended by "technê" more than is generally understood by the contemporary term "art," for (...) he meant anything produced by human intention. For example, for Aristotle medicine was technê in that the doctor produces health. The key point in distinguishing art from nature for him was that things in nature grow and develop on the basis of an internal principle of change, whereas artistic production requires an outside agent. There are some complications with the Aristotelian account: are the spider's web and the bird's nest art or nature? Aristotle can respond to this problem easily enough by arguing that spiders and birds create on the basis of instinct, while reason is requisite for artistic production. Yet some art may not meet this definition: artists may not always have a full conception of the work to be produced prior to its execution. Creativity can be emergent rather than intentional during the productive process, and may arise, for example, from the artist's interaction with the chosen material. [End Page 22]Despite these objections to the Aristotelian distinction, however, his analysis of the differences between art and nature can be usefully applied to recent debates in restoration ecology in order to argue that the human capacity to restore nature does not justify its destruction. Nature cannot be "faked," that is, recreated through art. Furthermore, the Aristotelian analysis has been influential historically by providing a conceptual basis for the technological domination of nature, as if nature were nothing more than matter upon which form can be imposed. Yet there are alternative possibilities in Aristotle's account that ecologically-minded art can bring to fruition. I will use Aristotle's analysis to suggest a potential resolution of the "faking nature" debate, and accordingly to show how contemporary, ecologically-minded art can promote an ideology of production that works with rather than against nature.Robert Elliot argues that restoration ecology does not justify environmental destruction, because faked nature (that is, nature re-created by human artifice) is not as valuable as the original. 2 I will call this claim, which is based on the idea that restoration is analogous to artistic production, "the Elliot view." I will first assess the Elliot view, and give reasons why I sympathize with his conclusions, yet find his arguments unconvincing. Second, I will present Aristotle's distinction between nature and art, with emphasis on his arguments that nature is goal-directed, in order to give content to the claim that nature has intrinsic value. Third, I will look at restoration policies and practices in the oil industry in Alberta, Canada, to establish a praxical notion of restoration, and to support Elliot's claim that nature cannot be faked. I have chosen oilfield restoration as a working example for the sake of the general methodological principle that praxes without reflections are blind, while reflections that transcend the lifeworld are empty; and specifically because Alberta leads the industry in restoration standards and practices. Finally, I will use Flowforms to argue that ecologically-minded art can demonstrate how production of artifacts need not affirm a logic of domination, but rather can open a space for an alternative conception of the human relation to nature. The Elliot View Elliot's view depends on distinguishing nature from art, and attributing a greater value to the natural. On what basis should we accept this value-hierarchy? The reasons Elliot gives are less than convincing. Ultimately his arguments rest on two points: that copies are not as good as [End Page 23] originals; and that even if an ecosystem's value could be fully restored, the value lost in the time between despoilation and restoration is irrecoverable. He simply finds "naturalness" to be more valuable than artifice. But he is not alone in... (shrink)

Environmental artworks are not an aesthetic affront against nature because the aesthetic qualities of artworks are to some extent a function of other sorts of qualities, such as moral, social, or ecological qualities. By appealing to a new ecological paradigm, we can characterize environmental artworks as anthropogenic disturbances and evaluate them accordingly. Andrew Light’s model of ecological citizenship emphasizes public participation in ecological restoration projects, which are very similar to environmental artworks. Participation in the creation, appreciation, and criticism of environmental (...) art can count as a form of ecological citizenship when these practices provoke public deliberation about environmental and other community-regarding values. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the public (...) good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

This paper compares the views of styles of science of Alistair Crombie and Ian Hacking with the notion of styles of art, as developed by Alois Riegl at the end of the 19th Century. Important similarities are noted, notably in the conceptualization of the autonomy of styles. Riegl developed in particular the notion of Kunstwollen , which encompasses an implied relation to the world, in both a cognitive and an ethical sense, and a relation to the public of art. The (...) latter aspect will be examined as the “role of the spectator”. Finally, a number of Riegl’s view on art are tentatively applied to styles of science. (shrink)

: Utilizing examples from recent art, we critique Greta Gaard's argument that an inclusive ecofeminism must account for the role played by erotophobia in oppression. We suggest that while Gaard offers valuable insight into how fear of the erotic contributes to maintaining heteropatriarchal institutions, it fails to account for forms of oppression specific to lesbians. Moreover, Gaard's analysis unwittingly reinforces the conceptual, hence political, economic, and social invisibility of lesbians that, following Marilyn Frye, we argue is not merely consequent to (...) compulsory heterosexuality, but constitutive of it. Lastly, we sketch a lesbian erotic whose potential for generating conceptual dissonance within heteropatriarchal value dualism contains the seeds of a creative "sensibility" out of which a genuinely queer ecofeminism might emerge. (shrink)

Utilizing examples from recent art, we critique Greta Gaard's argument that an inclusive ecofeminism must account for the role played by erotophobia in oppression. We suggest that while Gaard offers valuable insight into how fear of the erotic contributes to maintaining heteropatriarchal institutions, it fails to account for forms of oppression specific to lesbians. Moreover, Gaard's analysis unwittingly reinforces the conceptual, hence political, economic, and social invisibility of lesbians that, following Marilyn Frye, we argue is not merely consequent to compulsory (...) heterosexuality, but constitutive of it. Lastly, we sketch a lesbian erotic whose potential for generating conceptual dissonance within heteropatriarchal value dualism contains the seeds of a creative "sensibility" out of which a genuinely queer ecofeminism might emerge. (shrink)

Nassar distinguishes an understudied philosophical tradition that emerged in Germany in the late 18th and early 19th centuries, traces its development, and argues for its continued significance. She shows how four key thinkers, whom she calls the 'romantic empiricists', developed a distinctive approach to the study of nature, which culminated in an ecological understanding of nature and the human place within it. Nassar contends that the romantic empiricist insights and approaches remain crucial for us today, as we seek to address (...) the environmental crisis.--. (shrink)

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

This article seeks to advance connecting the two societal priorities of environmental protection and what has been called ‘Indigenous reconciliation’ through arts-based communication (and particularly arts-based research), to help engage and inspire people towards sustaining a healthy planet and a just society. Through lenses of social justice, decolonizing critique and holistic environmental ideologies, this work explores theoretical and practical, real-world intersections of environmentalist, Indigenous and arts-based imperatives and ways of knowing. The goal is twofold: first, to seek to engage readers (...) in viewing the colonization of the planet and its First Peoples as intimately related, and ultimately, to bring together diverse literatures to suggest ideas, language and a model to foster communication aimed at redressing both of those colonialist evils. To acknowledge this intersection of environmental and Indigenous approaches in arts-based settings, the term ‘environmental conciliation’ is proposed and defined as ‘environmental protection in ways that acknowledge, address, and aim to redress imbalances in power among Indigenous people and non-Indigenous settlers honestly, respectfully, openly, creatively and positively. (shrink)

Inspired by the ecosophical writings of Felix Guattari, this book explores the many ways that aesthetics - in the forms of visual art, film, sculpture, painting, literature, and the screenplay - can act as catalysts, allowing us to see the world differently, beyond traditional modes of representation. This is in direct parallel to Guattari's own attempt to break down the 19th century Kantian dialectic between man, art, and world, in favour of a non-hierarchical, transversal approach, to produce a more ethical (...) and ecologically sensitive world view."-- Back cover. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

This paper considers some foundational concepts in ecological psychology and in enactivism., and traces their developments from their historical roots to current preoccupations. Important differences stem, we claim, from dissimilarities in how embodied experience has been understood by the ancestors, founders and followers of ecological psychology and enactivism, respectively. Rather than pointing to differences in domains of interest for the respective approaches, and restating possible divisions of labor between them in research in the cognitive and psychological sciences, we call for (...) a deeper analysis of the role of embodiment in agency that we also undertake. Awareness of the differences that exist in the respective frameworks and their consequences, we argue, may lead to overcoming some current divisions of labor and responsibility, and contribute to a more comprehensive and complementary way of dealing with a broader range of theoretical and practical concerns. While providing some examples of domains, such as social cognition and art reception, in which we can observe the relative usefulness and potential integration of the theoretical and methodological resources from the two approaches, we demonstrate that such deeper synergy is not only possible but also beginning to emerge. Such complementarity, as we envisage, conceives of ecological psychology that allows felt experience as a crucial dynamical element in the explanations and models that it produces, and of an enactive approach that takes into consideration the ubiquitous presence of rich directly perceived relations among variables arising from enactments in the social and physical world. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

The ecological crisis is one of the most critical moral concerns of the present. But the concern is not with the environment, or with that which surrounds us; it is not with an objectified nature, in relation to which humans stand as mere passive observers. Rather, ecological concern emerges from recognition that humanity participates in nature, that our behavior in the natural world affects our own present and future as well as the present and future of the biosphere and that (...) we are morally answerable for this behavior, or responsible in, through, and for our participation.1 Understood in these ways, the ecological crisis can be viewed as an unfolding historical process generated by the structural forms and .. (shrink)