Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233792
M. Richardson, Magdalena Zolkos
Anthropocene” is the second in a twopart endeavour, following the 2022 special issue on “Witnessing After the Human” in Angelaki (vol. 27, no. 2), which together form an inquiry into what it means to witness “after the human.” The current issue draws on cultural theory of testimony and witnessing to examine the practices and questions drawn out by the goals and objectives of “witnessing the Anthropocene.” The task at hand is marked by a distinctive aporia as it appears at the same time urgent and impossible. The scale of the current planetary crises in the world means that any such aesthetic and social practices of testimony need to acknowledge and work with epistemological and political limits of human subjectivity, individual or collective. While the Anthropocene might by definition be the product of human action, its scale and complexity appear at odds with the capacity of individual human perception or response. At the same time, such testimonial practices also foreground the need for alternative forms of worldly encounters, which radically expose the systems of knowledge, power, and economy that produced the crisis in the first place. This further requires recognition of the unique temporal structures within which “witnessing the Anthropocene” is positioned: rather than give an account of events that were antecedent to its narrative(s), at hand is a crisis that unfolds simultaneously to the testimonial production or even is ahead of it. Witnessing that which is proximate, intimate, and immediate stands in for something much larger and more complex, while also drawing attention to the close imbrications between testimonial materiality and the
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233799
Casey Boyle
Abstract In response to climate change and collapse, this essay explores both the necessity of and impossibility to witness disasters that are unending and unrelenting. Such disaster is understood generally as the Anthropocene but, for the purpose of this project, includes a more particular inflection, Late Humanity. This inflection is an attempt to hone in on a confluence of critical discussions found in environmental, economic, cultural, and biological disciplines to better attend to dynamics wherein modes of existence are in flux. In response to this era, the essay proposes that witnesses are positioned as both observer and creator and, as such, turns to aesthetics as a way to understand those dual practices. Building on the aesthetic philosophy of Étienne Souriau, the essay considers witnessing as a multi-modal and multi-temporal practice through what Souriau calls instauration (the process of rendering the work-to-be-made). To demonstrate this practice, the project pursues a sleuth of bears (spotlighting the bears of astral mythology, disaster tourism, animal-cam live streams, interactive documentary, monstrous fiction, and, finally, a fantastical take on micro-organisms) to craft an aesthetic for witnessing amidst climate collapse that establishes realities through a process characterized as both conditional and conditioning.
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233810
Blanche Verlie, Astrida Neimanis
Abstract In this paper, we consider climate change as a systemic respiratory crisis, and explore how breath can function as a mode of witnessing climate catastrophe. We build on feminist environmental humanities methodologies of embodied attunement to advance a more-than-human witnessing of climate change. We suggest that a feminist “conspiratorial” witnessing of breath(lessness) can afford an embodied, situated, empathetic and systemic mode of witnessing. In this approach, the witness (e.g., “the human”) is part of what is witnessed (the climate crisis). As such, breathing climate catastrophe can reveal the intimate, visceral and personal violences of global climate change, and develop empathetic approaches to climate injustice. Nevertheless, as breath’s social and multispecies differentiation reveals, no-one can witness the entirety of climate catastrophe with their own bodies. We thus advocate for collective, more-than-individual modes of knowing, such as science, art and critical analysis, to augment our own sensorial experiences of witness.
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233796
A. Kearney
Abstract Testimony and witnessing require sentiency, not humanity. Sentiency is distinguished here as the capacity to experience energetic coalescing between elements/entities/presences and to derive a response from such encounters. Taking as its focal point the kincentric ecology and lifeworld of Yanyuwa Country in the south-west Gulf of Carpentaria, northern Australia, this paper strives to expand the conceptual roots for a discussion of testimony and witnessing through the principle of “unflattening.” Unflattening is a commitment of orientation, one that counteracts the type of narrow, rigid thinking that is flatness, a condition in which humans are often unable to see past the boundaries of current frames of mind, the limits of our existence, our ontology, epistemic and moral habit (Sousanis, Unflattening (Harvard UP, 2015)). In a settler colonial context such as Australia, these are conditions which reflect a dominant epistemic tradition of the West, which relies upon certain ontological habits, reflective of a capitalist, modern, neo-liberal and individualistic tendency. But this is not the only Law and way of knowing that exists across the great landmass of Australia, mapped as it is by the languages and Laws of diverse Indigenous language groups. In Yanyuwa Country, communication between multifarious agents is common, ranging from those between humans, deceased kin who reside as “old people” in Country, Ancestral Beings which have become the embodiment of Country, non-human animals, elements, objects and places. Each and all are capable of communicating; be it as expressions of recognition of one another, revelation of emotional states, health or disorder, responsivity to the presence of others, Law and local empiricism. Drawing on my ethnographic encounters with Yanyuwa families, I aim, throughout this paper, to unflatten on three fronts: first, expand the relational scope of potential communicative pathways to take in sentient presence as a catalyst for relationality (carried forth by responsiveness to and between presences), second, examine the multidimensional nature of testimony and third, expand our vision of the enactment of witnessing – to consider who, what and when. I consider Indigenous, specifically Yanyuwa, relational ontologies as they bond and unify the human and non-human across a field of sentiency and communicative intention, shifting the focus or primal orientation to either side of and all around the human.
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233801
J. L. Pitt
Abstract This article considers what it means to give plants a voice as witnesses to nuclear events. It examines two texts that attempt to represent the nonverbal testimony of irradiated plants through a hybrid approach of text and image: Sugihara Rieko’s Pilgrimage to the A-Bombed Trees (Hibakuju junrei, 2015) and Michael Marder and Anaïs Tondeur’s The Chernobyl Herbarium: Fragments of an Exploded Consciousness (2016). Published a year apart, both texts focus on the afterlife of nuclear catastrophes: the atomic bombing of Hiroshima in 1945 and the Chernobyl nuclear disaster in 1986. Sugihara’s book is an account of the hibakujumoku – trees that survived the atomic bombing of Hiroshima and continue to produce new growth to this day. Combining maps, photographs, interviews, and short essays, Pilgrimage to the A-Bombed Trees is intended as an immersive guidebook to the nearly 170 irradiated trees located within a two-kilometer radius around Hiroshima’s ground zero. It presents these trees as “living witnesses” whose subsequent flourishing has provided human survivors with a conceptual figuration of destructive plasticity. Marder and Tondeur’s The Chernobyl Herbarium formally resembles Sugihara’s Pilgrimage to the A-Bombed Trees, and likewise combines text (a combination of short theoretical essays and personal remembrances of the Chernobyl meltdown) and images (Tondeur’s photograms of plants grown in the exclusion zone) into a slim volume that calls for a rejection of language as the sole means of bearing witness. According to Marder, Tondeur’s photograms “bring out the testimony of the plant,” and yet the same procedure renders these plant witnesses “specimens,” full of radioactivity but devoid of life (something Sugihara’s book avoids through the medium of photography). The Chernobyl Herbarium is an attempt to capture, in fragmentary form, the limits of language in the conceptualization of plant life and in the proper conceptualization of the Chernobyl disaster. Ultimately, both texts are experiments to “think the unthinkable and represent the unrepresentable,” to borrow Marder’s words, through a deep, speculative engagement with the botanical realm. As wordless testimony is given voice through human–botanical intra-action, the plasticity of plant life (its capacity to adapt and change) is highlighted, and this allows us to locate moments of phytomorphism – the attribution of vegetal qualities to the human – in these two self-proclaimed “guidebooks.”
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233797
S. Collins
Abstract The depiction of stones that speak has long been used as a literary and philosophical device to reflect upon the limitations of human language (i.e., language as a petrification of thought and action). Jacques Rancière has described stone’s capacity to bear witness as a form of “mute speech,” noting how “any stone can also be language,” as a part of the “testimony that mute things bear to mankind’s activity.” In exploring the character of this form of testimony, and asking how we hear it, this article examines the function of the Stone Guest in the legend of Don Juan, across Molière’s and Pushkin’s theatrical versions, a short film version by Marina Fomenko, and Mozart and Da Ponte’s operatic version, so revered by Kierkegaard and others. The character of the Stone Guest is often seen as casting judgement against the aesthetic mode of life, yet the power of the character lies not in his ghostly humanity or sense of retribution, but in his stoniness – his capacity to bear witness, just as a stone monument bears witness or commemorates a past trauma. In a number of versions of the Don Juan story, the Stone Guest is announced by approaching footsteps or knocking. This acousmatic device mirrors the uncanny separation of sound and source in opera – the way in which music mediates between the conflicting imperatives of language and the corporeal or material aspects of the singing voice, lending opera its vaunted mechanical qualities. Using stones that speak as a heuristic, the article draws together ideas about the limitations of language and the mechanical qualities of opera in order to excavate the auditory affordances of the stone’s form of testimony, in all its inorganic liveliness.
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233809
Svea Braeunert
Abstract Contemporary art is increasingly reverting to notions of the index to image the slow changes and catastrophic destructions caused by climate breakdown. Looking at Gideon Mendel’s photo series Watermarks (since 2011), Tomonari Nishikawa’s short film sound of a million insects, light of a thousand stars (2014), and Santiago Sierra’s installation 52 Canvases Exposed to Mexico City’s Air (2019), the essay analyzes three positions that employ analog techniques of direct exposure to the elements and to toxicity. They use the index to create artworks that function as collaborative testimonies of human and non-human witnessing work, prompting a re-reading of Rosalind Krauss’ two-part essay “Notes on the Index” (1977) for the present. Central to such a re-reading is the form the testimonies take on. I describe them as indexical abstractions, seeing in them images that are materially connected to the world yet expressing that involvement in non-mimetic ways. The works cite the idiom of abstract art not only to show that modernism has put the planet into distress but to also find a pictorial code operating beyond the confines of linear perspective. By doing so, they give expression to what Timothy Morton has called the hyperobject of climate change, creating pictures that combine image and imagination, thereby asking viewers to approach them – and the world they index – with care.
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233808
C. Müller
Abstract In the Anglo-American cultural sphere, the growing awareness of global warming and ecocide has coincided with the proliferation of a much discussed, post-apocalyptic imaginary that transports us to uninhabitable planetary futures. These “fictions,” as E. Ann Kaplan notes in a discussion of their mobilising potential, act as “memories for the future” which make us “identify with future selves struggling to survive.” This article turns to Günther Anders’s notion of “apocalypse-blindness” (1956) and Cormac McCarthy’s The Road to set out an alternative way of understanding the powerfully sentimental force such images of doom convey. While seemingly turning our gaze to the future and onto the devastating impact of consumerist lifestyles, I argue that this doom-ridden imaginary also entails a sentimentalisation of our own “inability to feel” and be sufficiently affected by the reality we know ourselves to be contributing to. As such, it bears witness to the trauma of “not being able to adequately feel” what one already knows. By revisiting The Road, a text that occupies a central role in discussions of the potentials and cathartic pitfalls of post-apocalyptic fiction, I suggest that its political potential lies in this confrontation with the limits of feeling. And the politics it opens onto does not hinge on images on ruin, but on a yearning for a socially sanctioned right to feel and express the fear representations only seem able to convey in an inadequate, anaesthetic manner.
在英美文化圈，对全球变暖和生态灭绝的意识日益增强，与此同时，一种被广泛讨论的后世界末日想象也在扩散，这种想象将我们带入了一个无法居住的星球未来。正如e·安·卡普兰(E. Ann Kaplan)在讨论它们的动员潜力时指出的那样，这些“小说”充当了“未来的记忆”，使我们“认同为生存而奋斗的未来自我”。本文将从安德斯的“末日盲症”(1956)和科马克·麦卡锡的《道路》出发，以另一种方式来理解这些关于末日的图像所传达的强大的情感力量。虽然似乎把我们的目光转向了未来和消费主义生活方式的破坏性影响，但我认为，这种充满末日的想象也导致了我们对自己“无法感受”的感伤，并被我们知道自己正在为之做出贡献的现实充分影响。因此，它见证了“无法充分感受”一个人已经知道的东西的创伤。《路》在讨论后启示录小说的潜力和宣泄陷阱中占据了核心地位，我通过重新审视它，认为它的政治潜力在于与情感极限的对抗。它所展现的政治并不依赖于图像和废墟，而是依赖于一种对社会认可的权利的渴望，去感受和表达恐惧，而这种恐惧似乎只能以一种不充分的、麻醉的方式来传达。
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Pub Date : 2023-07-04DOI: 10.1080/0969725X.2023.2233806
Meera Atkinson
Abstract Literary trauma theory has traditionally been a humanist concern, and the concept of witnessing, so central to the theorization of trauma, has focused on human experience and relationships. This article stages an interdisciplinary intervention by conceptualizing trans-“species” trauma testimony as a literary encounter involving a double-layered witnessing; the human artist witnessing nonhuman animals’ witnessing to the failings and crises brought about by human society. Focusing on a selection of contemporary Australian poems, a view emerges of poetic witnessing and testimony that exceeds and complicates the sub-genre lenses of old such as “nature poetry,” “ecopoetry,” and “protest poetry.” I propose a new conceptual category that testifies to traumatic structures and consequences of human practices. I explore how this testimony proceeds through a two-way channel of witnessing in which nonhuman animals are active witnessing agents and not merely witnessed by humans. I concentrate on witnessing as primarily experiential, as a corporal, affective operation in which the senses figure centrally. I argue that when poets witness nonhuman animal experience in poetry, testimony advances as an ethical engagement in an act of solidarity and advocacy. Poetry offers productive potential in this respect due to its affinity for engagement with the senses, its capacity to communicate heightened affect, and its scope for expression, articulation, and evocations of meaning outside of conventional sense-making and the limits of rational understanding.
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Pub Date : 2023-05-04DOI: 10.1080/0969725X.2023.2216556
Naomi Waltham-Smith
Abstract Noise is said to disturb, disorient, and confuse, but this article looks specifically at the figure of noise “striking” – rather than, say, a rumbling or murmuring disquiet – us to examine its potential to unsettle European liberal hegemonic norms of ordering society and the inequalities they produce. In particular, it focuses on noisy protest, rebellion, and riot which might “awaken” citizens to these injustices and efforts to suppress them. Drawing on work of Saidiya Hartman, Christina Sharpe, Lauren Berlant, Fred Moten, Jacques Derrida, and Catherine Malabou, this article replays and dislodges the long-standing distinction between noise and logos by examining the transformative capacity of noise as something differential that inserts inconvenience into non-relational forms of sovereignty.
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