Pub Date : 2013-09-06DOI: 10.60162/swamphen.3.10602
H. Nankin
The practice-led PhD art research project 'Gathering Shadows' investigates the visual poetics of a speculative ‘ecological gaze’ at a time of ecological crisis. The project considers two environments but avers from the distancing objectification characteristic of lens-based capture and the tired genre of ‘landscape’. Instead, it proposes a symbolic order in which imagery of native invertebrates are presented as indices of the generic non-human 'Other'. This is conveyed with reflections on deep time, ecological sited-ness, ecological continuities and, most importantly, ecological disruption. Employing a unique analogic plein air technique for recording diminutive live subjects without a camera, the research pivots upon a trio of ecomimetic cues: first, its deeply indexical processes reveal an insect umwelten of uncanny intimacy and semiotic presence. Second, it is a process in which images tend to be facilitated not predetermined, where results are partially outcomes of chance-driven, counter-anthropocentric interactions between artist and environment. Third, rather than evoke traditional use of chiaroscuro the artworks present an inverted world of x-ray-like shadows—an oblique and somber metaphor appropriate to the 'dark' ecological conditions the project confronts. The project responds to two sites: semi-arid Lake Tyrrell in the Victorian Mallee, and the sub-alpine plateau of Mount Buffalo. Lake Tyrrell once informed a sacred reciprocity of sky with country in indigenous culture. The loss of this reciprocity is memorialised by using raw starlight falling on the lakebed to contact-print fresh photographic films with the imagery of relics of insect fauna gathered from the lakeshore. In the Australian Alps (the subject of this paper) the project focuses on the keystone species Bogong Moth Agrotis Infusa. These iconic invertebrates, and the imminent decline of their ecosystem due to climate change, inform the exquisitely detailed digital enlargements derived from cameraless images of swarming moths gathered from a summit cave.
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Pub Date : 2013-05-09DOI: 10.60162/swamphen.2.10600
S. Harris
REVIEW: The Bioregional Imagination: Literature, Ecology, Place. Edited by Tom Lynch, Cheryll Glotfelty, and Karla Armbruster. University of Georgia Press: Athens. 2012. US$24.95; Hardcover US$69.95; Kindle US$25.85. ISBN: 978-0-8203-3592-6
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Pub Date : 2013-05-09DOI: 10.60162/swamphen.2.10599
R. Blair
REVIEW: The Soul of the Desert. Philippa Nikulinsky and Stephen D. Hopper. Fremantle, WA: Fremantle Press, 2011. Paper. 184pp. AUD$45 NZD$56.61.ISBN139781921888649. (First hardback edition, 2005.)
回顾:沙漠之魂。Philippa Nikulinsky和Stephen D. Hopper。弗里曼特尔，华盛顿州:弗里曼特尔出版社，2011。论文。184页。澳元45美元NZD 56.61.ISBN139781921888649美元。(2005年精装本第一版)
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Pub Date : 2013-04-10DOI: 10.60162/swamphen.2.10591
T. Bristow, S. Harris
Guest Editors Note
特邀编辑
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Pub Date : 2013-04-10DOI: 10.60162/swamphen.2.10593
R. Blair
Leslie Marmon Silko's novel Gardens in the Dunes (1996) is unlike her earlier novels both in its reliance to a considerable degree on straegies of the traditional European realist novel and in its inclusion of a variety of global locations. Once again, it is a deeply political novel concerning abuses of indigenous peoples at the turn of the 19th and 20th centuries. But it is also a novel about gardens and in this essay I approach its issues from an ecocritical perspective, exploring its depiction of a range of gardening and horticultural practices and its valuing of ancient legacies. I attempt to evaluate the ability of the Gardens in the Dunes to offer a visionary view of sustainable agriculture.
{"title":"What we Leave Behind: Exploring Multiple Environmental Legacies in Leslie Marmon Silko’s Gardens in the Dunes","authors":"R. Blair","doi":"10.60162/swamphen.2.10593","DOIUrl":"https://doi.org/10.60162/swamphen.2.10593","url":null,"abstract":"Leslie Marmon Silko's novel Gardens in the Dunes (1996) is unlike her earlier novels both in its reliance to a considerable degree on straegies of the traditional European realist novel and in its inclusion of a variety of global locations. Once again, it is a deeply political novel concerning abuses of indigenous peoples at the turn of the 19th and 20th centuries. But it is also a novel about gardens and in this essay I approach its issues from an ecocritical perspective, exploring its depiction of a range of gardening and horticultural practices and its valuing of ancient legacies. I attempt to evaluate the ability of the Gardens in the Dunes to offer a visionary view of sustainable agriculture.","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129530793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-04-10DOI: 10.60162/swamphen.2.10595
Stephen Harris
'Babble on, O brook, with that utterance of thine … I will learn from thee, and dwell on thee – receive, copy, print from thee' (Specimen Days 1882). Walt Whitman, in lyrical communion with a mountain stream (Timber Creek, New Jersey), pledges a reverence towards the natural world that is as instructive in the 21st century as it was in late 19th century America. Whitman 'sings' as poet-activist. in listening to the water, he voices a call to human beings to practice what is now referred to as ecological consciousness – or, in Timothy Morton's words, the 'radical openness of ecological thought'. That the waters of the stream 'minister' to the poet is doubly significant; for it is the degradation of rivers and streams worldwide that so graphically marks the despoliation of fresh water supplies globally, and, both geographically and symbolically, maps the battlelines of the looming water wars of our time. In this essay, I will trace connections between Whitman’s Transcendentalist conceptions of the poet (and artist) as prototypical political 'eco-activist' and the later writings of figures such as Rachael Carson (Silent Spring 1962) and Edward Hoagland (Sex and the River Styx 2011). Comparative reference will also be made to the 'wars' over water in Australia and the United States, and the role of rivers in the cultural imagination of both nations.
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Pub Date : 2013-04-09DOI: 10.60162/swamphen.2.10596
T. Bristow
Henry David Thoreau’s Walden; or Life in the Woods (1854) is America’s nineteenth century scriptural call to establish the foundations of nationhood. The epic event of America underwritten by English literature, politics and economics, alongside the idea to self-realise anew and afresh is pregnant with Transcendentalist notions of self-reliance: the triumph of principles and latent convictions that constitute enlightenment within the self. In Jam Tree Gully Poems (2011) poet John Kinsella mimics this experimental temperate consciousness to outline degrees of freedom that are yoked to a satirical position on the extent that nature (or humans for that matter) can be autonomous. For Thoreau, free will is answered in terms of improvement – to environment and to the spirit. Improvements are accounted for by framing action and events over time. An issue at stake here is: to what extent does Thoreau’s desire to project a Protestant sense of improvement rely upon an externality operating on micro and macro scales that is subservient to human experience? In Walden, seasons do not come first; human emotion and intellect precede chronotopic and atmospheric abstractions. Human autonomy within the midst of nature – the central focus of Kinsella’s and Thoreau’s experiment – offers a Romanticism, a mode of feeling rather than a choice of subject.
亨利·大卫·梭罗的《瓦尔登湖》;《林中生活》(Life in the Woods, 1854)是十九世纪美国建立国家基础的圣经召唤。在英国文学、政治和经济的支持下，美国的史诗事件，伴随着重新实现自我的想法，孕育着先验主义的自力更生观念:原则的胜利和潜在的信念构成了自我的启蒙。在《Jam Tree Gully Poems》(2011)中，诗人John Kinsella模仿了这种实验性的适度意识，勾勒出一种自由程度，这种自由程度与自然(或人类)可以自主的程度相关联。对梭罗来说，自由意志的答案是对环境和精神的改进。随着时间的推移，通过框架行动和事件来说明改进。这里的一个关键问题是:梭罗投射新教改良意识的愿望在多大程度上依赖于在微观和宏观尺度上运作的外部性，而这种外部性服从于人类的经验?在瓦尔登湖，季节不是第一位的;人类的情感和智力先于时间和大气的抽象。人类在自然中的自主性——金塞拉和梭罗实验的中心焦点——提供了一种浪漫主义，一种感觉模式，而不是对主题的选择。
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Pub Date : 2013-04-08DOI: 10.60162/swamphen.2.10598
C. Dawson
This review essay of Bill Gammage's award-winning book The Biggest Estate on Earth: How Aborigines Made Australia (2011) considers the book in detail, along with other reviews.
{"title":"'Field Guide to 1788': The Biggest Estate on Earth: How Aborigines Made Australia (2011)","authors":"C. Dawson","doi":"10.60162/swamphen.2.10598","DOIUrl":"https://doi.org/10.60162/swamphen.2.10598","url":null,"abstract":"This review essay of Bill Gammage's award-winning book The Biggest Estate on Earth: How Aborigines Made Australia (2011) considers the book in detail, along with other reviews. ","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122408524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-04-08DOI: 10.60162/swamphen.2.10597
B. Wallis
This essay examines the work of Wendell Berry (academic, poet, and farmer, who is well known for his focus on the local) and the ucanny photography of Ralph Eugene Meatyard. This essay argues that rather than simply a rehashing of the well-worn familar, or an encounter with alterity, both Berry's and Meatyard's work call neat distinctions between the familar and the strange into question. While residence tends to foster habitual perception and naturalising familiarity, Berry's and Meatyard's work suggests that increased intimacy unsettles habitual perception and reveals surprising and often monsterous aspects of familair beings and places. Their work attempts to affect perceptual 'quakes' that jars routinised senses of place and leads to views of place that surprise and even horrify. This essay is grounded in Berry's and Meatyard's collaborative work, The Unforeseen Wilderness: Kentucky's Red River Gorge [1971] and Berry's essay 'The Rise'. 'More Real than Real' draws on the theoretical insights of Timothy Morton (specifically his concept of the 'strange stranger') along with Jean Luc Marion's theory of saturated phenomenon and his writings on nature of the idol.
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Pub Date : 2013-04-08DOI: 10.60162/swamphen.2.10594
Johnston Ryan
Habitat poetry represents the lives of plants, animals and the features of the natural world within their ecological networks. Commonly detailing physical contact with nature, habitat poetry narrates moments in which the senses engage with ecological processes. Additionally, habitat awareness in poetry tends to convey a sense of grappling with scientific discourses. These characterisations of habitat poetry will be articulated in the context of the biodiverse South-West of Western Australia. The works of South-West poets Alec Choate (1915-2010) (Gifts; A Marking; Mind); Andrew Lansdown (1954-); and John Kinsella (1963) (Poems; The New Arcadia) use sensory language to express something about nature and convey the dynamics between science and poetry. The concept of habitat provides an interpretative framework for reading Choate, Lansdown and Kinsella. The three could be described not only as landscape poets but more precisely as habitat poets, a distinction pursued in this discussion.
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