Pub Date : 2013-12-05DOI: 10.60162/swamphen.3.10608
K. J. Stockfeld
I explore the interrelationships between environmental ethics and landscape art. An environmental ethic has long proven to be elusive, and I make the case that this is because it has been mistakenly viewed as an addendum to our established ethical systems, wherein some particular notion of value will serve as its basis. Affirming Taylor’s insight that our deeper values are those we find most difficult to articulate, I make the case that this inarticulacy is something we ought to embrace. Seeking to identify or specify environmental values is counterproductive, and if we are to succeed in arriving at an environmental ethic, then we must chart a very different course. The starting point is to return to fundamental questions, indeed to the most fundamental of them all, the Question of Being as Heidegger formulated it. Gesturing turns out to be the key to a middle-voiced engagement with the natural world that brings this question to life. Landscape art, whether verbal or visual, has an indispensible role to play in this endeavour: being the leading edge in our gradual maturing towards an ecological ethic, it has its basis in an engagement with our deeper, more inchoate values, and environmental philosophy finds its rightful place by following in its wake.
{"title":"Embracing the ineffable: landscape art, gesture and environmental ethics.","authors":"K. J. Stockfeld","doi":"10.60162/swamphen.3.10608","DOIUrl":"https://doi.org/10.60162/swamphen.3.10608","url":null,"abstract":"I explore the interrelationships between environmental ethics and landscape art. An environmental ethic has long proven to be elusive, and I make the case that this is because it has been mistakenly viewed as an addendum to our established ethical systems, wherein some particular notion of value will serve as its basis. Affirming Taylor’s insight that our deeper values are those we find most difficult to articulate, I make the case that this inarticulacy is something we ought to embrace. Seeking to identify or specify environmental values is counterproductive, and if we are to succeed in arriving at an environmental ethic, then we must chart a very different course. The starting point is to return to fundamental questions, indeed to the most fundamental of them all, the Question of Being as Heidegger formulated it. Gesturing turns out to be the key to a middle-voiced engagement with the natural world that brings this question to life. Landscape art, whether verbal or visual, has an indispensible role to play in this endeavour: being the leading edge in our gradual maturing towards an ecological ethic, it has its basis in an engagement with our deeper, more inchoate values, and environmental philosophy finds its rightful place by following in its wake.","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121110652","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 : 2013-12-05DOI: 10.60162/swamphen.3.10610
S. Pyke
This essay practices a mode of story-telling embedded in Freya Mathews’s argument for the ontopoetic. By approaching the ecofeminist ontopoetic moment, with an awareness of Jacques Rancière’s identification of the sensible possibilities of literature enacted through the body, new networks of the sensible are suggested in the interchange between the text and the body. Writing and reading non-human sentience through the co-affective ontopoetic moment creates a critical resistance to human containment, providing the potential to redistribute the position of the spectator, decentralising the human perspective in ways that might create more diverse relations with the more-than-human. Viewing the world outside the human skin in such ways may help reform the shared body of the earth.
{"title":"Sensible spectators: emancipation from mastery through the more-than-human","authors":"S. Pyke","doi":"10.60162/swamphen.3.10610","DOIUrl":"https://doi.org/10.60162/swamphen.3.10610","url":null,"abstract":"This essay practices a mode of story-telling embedded in Freya Mathews’s argument for the ontopoetic. By approaching the ecofeminist ontopoetic moment, with an awareness of Jacques Rancière’s identification of the sensible possibilities of literature enacted through the body, new networks of the sensible are suggested in the interchange between the text and the body. Writing and reading non-human sentience through the co-affective ontopoetic moment creates a critical resistance to human containment, providing the potential to redistribute the position of the spectator, decentralising the human perspective in ways that might create more diverse relations with the more-than-human. Viewing the world outside the human skin in such ways may help reform the shared body of the earth.","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"89 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132575464","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 : 2013-12-05DOI: 10.60162/swamphen.3.10613
Burcu Kayisci
This essay discusses the significance of Atwood’s two cautionary speculative fiction novels Oryx and Crake (2003), and The Year of the Flood (2009), within the framework of eco-politically engaged apocalyptic writing. Underlining the relevance of the comic perspective to ecological concerns, this paper proposes a new interpretation of the novels that will relate the comic mode to their apocalyptic content. This essay argues that the discourse of comic apocalypse has potential to address environmental issues directly and efficiently, insofar as it helps to build a cognitive bridge between imagining the future in the form of an imminent—and yet, presumably, improbable—catastrophe, and experiencing the present with a sense of ethical responsibility towards the world, in such a way as to prevent the catastrophe.
{"title":"Environmental Paradigm Shifts: Unnatural Disasters and Ethical Solutions","authors":"Burcu Kayisci","doi":"10.60162/swamphen.3.10613","DOIUrl":"https://doi.org/10.60162/swamphen.3.10613","url":null,"abstract":"This essay discusses the significance of Atwood’s two cautionary speculative fiction novels Oryx and Crake (2003), and The Year of the Flood (2009), within the framework of eco-politically engaged apocalyptic writing. Underlining the relevance of the comic perspective to ecological concerns, this paper proposes a new interpretation of the novels that will relate the comic mode to their apocalyptic content. This essay argues that the discourse of comic apocalypse has potential to address environmental issues directly and efficiently, insofar as it helps to build a cognitive bridge between imagining the future in the form of an imminent—and yet, presumably, improbable—catastrophe, and experiencing the present with a sense of ethical responsibility towards the world, in such a way as to prevent the catastrophe. ","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121761629","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}
Erin Manning’s concept of an art that ‘entertains the environment’, proposes a ‘minor’ practice that might be capable of provoking reconnection with a wide field of non-subjective forces. Rather than a concentration on a replicating of human/object hierarchies, it implies a focus on how various assemblages of human and nonhuman, concrete and abstract, virtual and actual forces have the potential to be realigned through the artistic process. Drawing on recent writing and artwork by Manning, this essay will propose the potential of such a shift in focus in the art event as a tactical approach towards development of a new conception of a political art. This might be seen as an ecological approach to art, which reconnects us with lively worlds and non-human agencies. This essay also explores the entertainment of the environment through an examination of Lygia Clark’s propositional art work 'Caminhando' (1963), concentrating on the transductive potential of the opening of the body to a wider field of distributed agency to produce a sensation of being ‘always more than’ a subject.
{"title":"Entertaining the Environment: Towards an Ethics of Art events.","authors":"A. Goodman","doi":"10.26181/5FA4E281B9412","DOIUrl":"https://doi.org/10.26181/5FA4E281B9412","url":null,"abstract":"Erin Manning’s concept of an art that ‘entertains the environment’, proposes a ‘minor’ practice that might be capable of provoking reconnection with a wide field of non-subjective forces. Rather than a concentration on a replicating of human/object hierarchies, it implies a focus on how various assemblages of human and nonhuman, concrete and abstract, virtual and actual forces have the potential to be realigned through the artistic process. Drawing on recent writing and artwork by Manning, this essay will propose the potential of such a shift in focus in the art event as a tactical approach towards development of a new conception of a political art. This might be seen as an ecological approach to art, which reconnects us with lively worlds and non-human agencies. This essay also explores the entertainment of the environment through an examination of Lygia Clark’s propositional art work 'Caminhando' (1963), concentrating on the transductive potential of the opening of the body to a wider field of distributed agency to produce a sensation of being ‘always more than’ a subject.","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127975078","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 : 2013-11-05DOI: 10.60162/swamphen.3.10604
Charles Dawson
This essay considers the major New Zealand installation artwork Āniwaniwa, by Māori New Zealand artists Brett Graham (Ngāti Koroki Kahukura) and Rachel Rakena (Ngāi Tahu, Ngā Puhi) The paper contextualises the installation around text about dams that inundate homeplaces, and refers briefly to the indigenous politics of water and memory in contemporary Aotearoa New Zealand. That Āniwaniwa received its most international exposure in a thirteenth-century salt warehouse at the 2007 Venice Biennale, where the viewer was invited to see the work whilst supine on the floors. It installation is testament to The artists’ innovation and calibre, as well as the evocative appeal of the work.
本文考虑了主要的新西兰装置艺术作品Āniwaniwa，由Māori新西兰艺术家Brett Graham (Ngāti Koroki Kahukura)和Rachel Rakena (Ngāi Tahu, ngi Puhi)。本文将围绕淹没家园的水坝的文本的装置置于背景中，并简要地提到了当代新西兰Aotearoa的水和记忆的土著政治。在2007年威尼斯双年展上，这个Āniwaniwa在一个13世纪的盐仓库里得到了最广泛的国际曝光，在那里，观众被邀请躺在地板上看作品。它的装置证明了艺术家的创新和能力，以及作品的唤起性吸引力。
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Pub Date : 2013-11-04DOI: 10.60162/swamphen.3.10603
L. Williams
While this paper recognises that the dominant discourses of contemporary art remain anthropocentric, it identifies environmental art as a relatively recent movement in a shift towards a nascent cultural recognition of shared human and nonhuman global ecologies. Using the heuristic contrast of a ‘slow’ art of affective poetics as against a ‘fast’ art of public accessibility, the paper aims to define some of the major critical challenges of contemporary environmental art. In particular, whilst acknowledging the pressing need for a cultural response to climate change and loss of biodiversity, it considers some of the problems in the use of what it refers to heuristically as ‘fast’ art as a means of proselytising an environmental message. On the other hand, the paper questions how a ‘slow’ art of affective poetics might be adapted to reach a wider public.
{"title":"Affective poetics & Public access: the critical challenges of environmental art.","authors":"L. Williams","doi":"10.60162/swamphen.3.10603","DOIUrl":"https://doi.org/10.60162/swamphen.3.10603","url":null,"abstract":"While this paper recognises that the dominant discourses of contemporary art remain anthropocentric, it identifies environmental art as a relatively recent movement in a shift towards a nascent cultural recognition of shared human and nonhuman global ecologies. Using the heuristic contrast of a ‘slow’ art of affective poetics as against a ‘fast’ art of public accessibility, the paper aims to define some of the major critical challenges of contemporary environmental art. In particular, whilst acknowledging the pressing need for a cultural response to climate change and loss of biodiversity, it considers some of the problems in the use of what it refers to heuristically as ‘fast’ art as a means of proselytising an environmental message. On the other hand, the paper questions how a ‘slow’ art of affective poetics might be adapted to reach a wider public. ","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128859323","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 : 2013-10-17DOI: 10.60162/swamphen.3.10611
D. Jordan
Eco-centric ideologies recognise humans as an interdependent part of a larger biotic community and the biophysical systems that support them. Constructions and narratives of one’s ‘spiritual home’ in the environment by authors and critics can challenge colonial and postcolonial understandings, of — in this instance — Australia. Vance Palmer, Australia’s leading man of letters of the inter-war period, claimed his was a generation seeking to find ‘harmony’ with the environment; Nettie Palmer believed that writers’ powers depended on their capacity to find a spiritual home in place. Without the literary imagination, people and places appear ‘uncanny and ghostlike’, and Nettie evolved a schema in and through language to help others learn how to dwell in the land. In a time of rapid environmental change, this essay re-visits these writers, that is, Vance and Nettie Palmer, Katharine Susannah Prichard and others of their generation, and it investigates their important initiatives in challenging dominant and habitual ways of understanding and seeing the natural environment. Often as a result of their beliefs they sought out remote country locations and ‘wilderness areas’ in which to live and write about. Two key texts, Working Bullocks (1926) by Prichard and The Man Hamilton (1928) by Palmer, can be explored in context of recent discourses on ecological sensibilities, identities of place and transnational cosmopolitanism, home and homecoming in the literary imagination, and rapid change through climate change. Building on earlier literary critiques and gender analysis, very different readings of the environmental imagination at play in these texts are possible.
{"title":"Finding a Spiritual Home in the Australian Environment: Katharine Susannah Prichard and Vance Palmer in the 1920s","authors":"D. Jordan","doi":"10.60162/swamphen.3.10611","DOIUrl":"https://doi.org/10.60162/swamphen.3.10611","url":null,"abstract":"Eco-centric ideologies recognise humans as an interdependent part of a larger biotic community and the biophysical systems that support them. Constructions and narratives of one’s ‘spiritual home’ in the environment by authors and critics can challenge colonial and postcolonial understandings, of — in this instance — Australia. Vance Palmer, Australia’s leading man of letters of the inter-war period, claimed his was a generation seeking to find ‘harmony’ with the environment; Nettie Palmer believed that writers’ powers depended on their capacity to find a spiritual home in place. Without the literary imagination, people and places appear ‘uncanny and ghostlike’, and Nettie evolved a schema in and through language to help others learn how to dwell in the land. In a time of rapid environmental change, this essay re-visits these writers, that is, Vance and Nettie Palmer, Katharine Susannah Prichard and others of their generation, and it investigates their important initiatives in challenging dominant and habitual ways of understanding and seeing the natural environment. Often as a result of their beliefs they sought out remote country locations and ‘wilderness areas’ in which to live and write about. Two key texts, Working Bullocks (1926) by Prichard and The Man Hamilton (1928) by Palmer, can be explored in context of recent discourses on ecological sensibilities, identities of place and transnational cosmopolitanism, home and homecoming in the literary imagination, and rapid change through climate change. Building on earlier literary critiques and gender analysis, very different readings of the environmental imagination at play in these texts are possible.","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"30 17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125371917","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 : 2013-10-09DOI: 10.60162/swamphen.3.10612
Andrew Milner
This paper will be concerned to analyse what is almost certainly the earliest Australian climate change dystopia. In 1985 George Turner published a short story, The Fittest, in which he began to explore the fictional possibilities of the effects of global warming. He quickly expanded this story into a full-length novel published as The Sea and Summer in Britain and as Drowning Towers in the United States. The Sea and Summer is set mainly in Melbourne, a vividly described, particular place, terrifyingly transformed into the utterly unfamiliar. Turner’s core narrative describes a world of mass unemployment and social polarisation, in which rising sea levels have inundated the Bayside suburbs; the poor ‘Swill’ live in high-rise tower blocks, the lower floors of which are progressively submerged; the wealthier ‘Sweet’ in suburbia on higher ground. The paper will argue that Turner’s novel is long overdue a positive critical re-evaluation.
{"title":"The Sea and Eternal Summer: Science Fiction, Futurology and Climate Change","authors":"Andrew Milner","doi":"10.60162/swamphen.3.10612","DOIUrl":"https://doi.org/10.60162/swamphen.3.10612","url":null,"abstract":"This paper will be concerned to analyse what is almost certainly the earliest Australian climate change dystopia. In 1985 George Turner published a short story, The Fittest, in which he began to explore the fictional possibilities of the effects of global warming. He quickly expanded this story into a full-length novel published as The Sea and Summer in Britain and as Drowning Towers in the United States. The Sea and Summer is set mainly in Melbourne, a vividly described, particular place, terrifyingly transformed into the utterly unfamiliar. Turner’s core narrative describes a world of mass unemployment and social polarisation, in which rising sea levels have inundated the Bayside suburbs; the poor ‘Swill’ live in high-rise tower blocks, the lower floors of which are progressively submerged; the wealthier ‘Sweet’ in suburbia on higher ground. The paper will argue that Turner’s novel is long overdue a positive critical re-evaluation. ","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128163693","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 : 2013-10-09DOI: 10.60162/swamphen.3.10607
Cassandra O'Loughlin
Ecopoetics has to do with the realisation of the relationship between human beings and the biosphere. It reflects on what it might mean to dwell with the earth. Before one's country can become accepted as a dwellilng place for the writer's imagination, it must first be discerned, experienced, expressed, and as it were fully engaged. The foreignness of the Australian environment as envisaged by the early European settlers, together with the exploitive ideology of colonialism, proved challenging for colonial writers such as Charles Harpur who felt a sense of connection to the place.This paper examines Harpur's work to determine if it qualifies as ecopoetics as understood in recent studies of literature in relation to the environment. It also seeks to establish his work as a resource for current environmental thinkers, as a point of reference for the consideration of the pre-colonial communicative exchange with this land. His emphasis is on vision: both in a temporal and a transcendental sense.
{"title":"The Ecopoetics of Charles Harpur","authors":"Cassandra O'Loughlin","doi":"10.60162/swamphen.3.10607","DOIUrl":"https://doi.org/10.60162/swamphen.3.10607","url":null,"abstract":"Ecopoetics has to do with the realisation of the relationship between human beings and the biosphere. It reflects on what it might mean to dwell with the earth. Before one's country can become accepted as a dwellilng place for the writer's imagination, it must first be discerned, experienced, expressed, and as it were fully engaged. The foreignness of the Australian environment as envisaged by the early European settlers, together with the exploitive ideology of colonialism, proved challenging for colonial writers such as Charles Harpur who felt a sense of connection to the place.This paper examines Harpur's work to determine if it qualifies as ecopoetics as understood in recent studies of literature in relation to the environment. It also seeks to establish his work as a resource for current environmental thinkers, as a point of reference for the consideration of the pre-colonial communicative exchange with this land. His emphasis is on vision: both in a temporal and a transcendental sense.","PeriodicalId":197436,"journal":{"name":"Swamphen: a Journal of Cultural Ecology (ASLEC-ANZ)","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133346022","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 : 2013-09-06DOI: 10.60162/swamphen.3.10609
S. Cooke
This essay explores the ecologically sensitive properties of oral poetics, or of written poetries with a close relationship to oral traditions. Looking in particular at the work of contemporary Mapuche poet Leonel Lienlaf (from southern Chile), I outline some of the important links between his written work and the Mapuche oral tradition. I then show how the proximity of Lienlaf's poems to songpoetry-and, by extension, to the voice and to the limits of breath-produces a highly ecologically sensitive poetic. Several parallels are drawn between properties of Mapuche songpoetry and of Aboriginal songpoetry, suggesting that a similar concern with ephemera, bodily location and movement can also be found in the work of some contemporary Aboriginal poets.
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