Art, Theory and Practice in the Anthropocene contributes to the growing literature on artistic responses to global climate change and its consequences. Designed to include multiple perspectives, it contains essays by thirteen art historians, art critics, curators, artists and educators, and offers different frameworks for talking about visual representation and the current environmental crisis. The anthology models a range of methodological approaches drawn from different disciplines, and contributes to an understanding of how artists and those writing about art construct narratives around the environment. The book is illustrated with examples of art by nearly thirty different contemporary artists.
Embracing the intersectional methodological outlook of the environmental humanities, the contributors to this edited collection explore the entanglements of cultures, ecologies, and socio-ethical issues in the roles of trees and their relationships with humans through narratives in literature and art.
This book examines how contemporary artists have engaged with histories of nature, geology, and extinction within the context of the changing planet. Susan Ballard describes how artists challenge the categories of animal, mineral, and vegetable—turning to a multispecies order of relations that opens up a new vision of what it means to live within the Anthropocene. Considering the work of a broad range of artists including Francisco de Goya, J. M. W. Turner, Robert Smithson, Nancy Holt, Yhonnie Scarce, Joyce Campbell, Lisa Reihana, Katie Paterson, Taryn Simon, Susan Norrie, Moon Kyungwon and Jeon Joonho, Ken + Julia Yonetani, David Haines and Joyce Hinterding, Angela Tiatia, and Hito Steyerl and with a particular focus on artists from Australia and Aotearoa New Zealand, this book reveals the emergence of a planetary aesthetics that challenges fixed concepts of nature in the Anthropocene. The book will be of interest to scholars working in art history, visual culture, narrative nonfiction, digital and media art, and the environmental humanities.
This book assesses the contemporary status of photochemical film practice against a backdrop of technological transition and obsolescence. It argues for the continued relevance of material engagement for opening up alternative ways of seeing and sensing the world. Questioning narratives of replacement and notions of fetishism and nostalgia, the book sketches out the contours of a photochemical renaissance driven by collective passion, creative resistance and artistic reinvention. Celluloid processes continue to play a key role in the evolution of experimental film aesthetics and this book takes a personal journey into the work of several key contemporary film artists. It provides fresh insight into the communities and infrastructures that sustain this vibrant field and mobilises a wide range of theoretical perspectives drawn from media archaeology, new materialism, ecocriticism and social ecology.
This book aims to meet the demands on teaching and learning in the twenty-first century, and in specific, how teacher education may transform pedagogical approaches and didactic methods to support future teachers in enhancing needful skills. In particular, it focuses on the pedagogical approach of Storyline, and how a Storyline can be applied in teacher education. It argues that teacher education benefits from the potency of various disciplines while applying an interdisciplinary methodology. Storyline is a problem-based, cross-curricular approach, based on learning through an evolving narrative, created in collaboration between teacher and students. It includes a variety of didactic tools, and inclusiveness towards different learners. Using Storyline in teacher education arranges for teacher educators to integrate alternative structures, that enable interdisciplinary cooperation and topic-based teaching. The authors have incorporated Storyline in many different ways, which contextualizes throughout the book. The book provides an overview of Storyline and introduces improved and new theoretical perspectives on this approach, including many practical examples.
In this book, Cathy Fitzgerald PhD., explores new ideas and practices for eco-social well being by bringing art and non-art practices together in her creative practice."Through my practice and an art practice-theory PhD "The Ecological Turn", I have developed a guiding theory-method framework to articulate the context and workings of long-term eco-social art practices. These vital practices activate ecoliteracy and agency for environmental change in communities. Much of my PhD drew on my experiences and challenges, and the review of others' pioneering creative practices' that are responding to ecological concerns. My own transversal practice reflects on the transformation of the small conifer plantation that I live with, Hollywood forest, toward new-to-Ireland, Close-to-Nature forestry. I bring previous experience in biological science research and interests in environmental philosophy, policy development and ecocide-Rights of Nature law developments into the mix. Somehow an eco-social art practice allows me to connect and move across these various strands of interest to create new agency for myself and the human and non-human neighbours I depend on, and live with." Hollywood forest is the smallest Close-to-Nature forest in Ireland; it is growing happily near Mt Leinster and the Blackstairs mountains in South East Ireland.
This volume focuses on the fourth Sustainable Development Goal (SDG), education, to look at sustainability from various angles with the purpose of challenging preconceptions about what sustainable education might entail and how it should be conducted. To this end, the book assembles scholars from various research fields and disciplines, who are willing to be at the cutting edge regarding sustainability and education on all levels with students in the ages of 6-15. Through this approach, the text points towards a “wild pedagogy” in line with post-sustainable thinking. This involves agency and the role of nature itself as a co-educator, and promotes cultural changes, and explorative processes of finding “the wild” – the unknown, and complexity in nature – and thus of challenging the human need for control. This approach is also, in line with the 2030 Agenda, an attempt to move from advocating predetermined behavioural change to embracing a pluralistic perspective on sustainability, based on holistic views on education. Such views include curiosity, wonderment, compassion and agency as guiding lights. The book is structured into three sections, based on three interrelated strands. These strands are, in various ways, dependent on one another and further engaged with bringing education theory and practice together. These strands are 1) Belonging and sensing, 2) Critical thinking, social justice and action competence, and 3) Creating hope in a vanishing world. These strands aim to increase our access to and understanding of the ways in which sustainability can be integrated into education and why. The purpose of the text is to encourage educators of all kinds and levels, as well as scholars in different fields, to explore new perspectives on education for sustainable development. The book examines probes in diverse academic fields and focuses on how to combine different approaches and content, and therefore everyone interested in interdisciplinary and cross-curricular teaching and learning should find this work enlightening.
This book proposes that creative and participatory modes of measuring, knowing, and moving in the world are needed for coming to grips with the Anthropocene epoch. It interrogates how creative, affective and experiential encounters that traverse the local and the global, as well as the mundane and the everyday, can offer new perspectives on the challenges that lay ahead. This book considers the role of the arts in exploring geographical concerns and increasing human mobility. In doing so, it offers ways to counteract the unstable, shifting and disorienting impacts and debates surrounding human activity and the Anthropocene. The authors bring together perspectives from mobilities, creative arts, cultural geography, philosophy and humanities in an innovative exploration of how creative forms of measurement can assist in reconfiguring individual and collective action.
In this volume, emerging and established scholars bring ethical and political concerns for the environment, nonhuman animals and social justice to the study of nineteenth-century visual culture. They draw their theoretical inspiration from the vitality of emerging critical discourses, such as new materialism, ecofeminism, critical animal studies, food studies, object-oriented ontology and affect theory. This timely volume looks back at the early decades of the Anthropocene to query the agency of visual culture to critique, create and maintain more resilient and biologically diverse local and global ecologies.
In Molecular Red, McKenzie Wark creates philosophical tools for the Anthropocene, our new planetary epoch, in which human and natural forces are so entwined that the future of one determines that of the other. Wark explores the implications of Anthropocene through the story of two empires, the Soviet and then the American. The fall of the former prefigures that of the latter. From the ruins of these mighty histories, Wark salvages ideas to help us picture what kind of worlds collective labor might yet build. From the scientific pioneers who were trying to transform science during the Russia Revolution, to visionaries contemplating cyborg possibilities and science fiction dreams in late 20th century California, Molecular Red not only looks at the crisis of climate change that we face but also how we might be able to understand it, and how we might salvage some hope out of the wreckage.
