Cathy Fitzgerald discusses her recent doctoral creative practice-led art research for developing a guiding theory-method framework to signicantly improve the articulation and recognition of valualble long tern ecological art practice.
This presentation was created for Feeding the Insatiable: A Creative Summit, Dartington Hall, Totnes, Devon, England. 9-11 November 2016.
The POPaganda of Ron English - The Godfather of Street Art (PowerPoint)Yaryalitsa
Focus on Ron English - an contemporary artist with a twist. Displays some of his work in the area of POP CULTURE and his POPaganda technique of taking 'popular' images and relaying his message.
Downloading the PowerPoint will show full animation and transition of slides.
The POPaganda of Ron English - The Godfather of Street Art (PowerPoint)Yaryalitsa
Focus on Ron English - an contemporary artist with a twist. Displays some of his work in the area of POP CULTURE and his POPaganda technique of taking 'popular' images and relaying his message.
Downloading the PowerPoint will show full animation and transition of slides.
Interdisciplinary research frontiers of anthropology for climate changeMd Tahmid Hasan
American Anthropological Association (AAA) published a paper on climate change to give anthropologists and anthropology a guideline on how they should or can approach climate change where there strengths can be used best.
This presentation is based on the sixth chapter of that publication which was titled "Interdisciplinary Research Frontiers".
Presentation for International Perspectives on Participation and Engagement in the Arts conference, University of Utrecht, June 2014. Some perspectives and issues arising from the AHRC-funded Connected Communities pilot demonstrator project, Remaking Society. For more details visit http://remaking society.ageofwe.org
No one vision is sufficient in and of itself – visions can guide but only by collaborative action in a creative generative process can visions grow and become part of an ongoing positive sociocultural reality.
Without taking into account the many worldviews that currently co-exist and crafting ways of including them in a positive and healthy form we will continue to alienate vast sections of all communities of humankind.
Ecocriticism-During the last few decades, Environment has pose.docxpauline234567
Ecocriticism
-During the last few decades, Environment has posed a great threat to human society as well as the mother earth. The extensive misuse of natural resources has left us at the brink of ditch. The rainforests are cut down, the fossil fuel is fast decreasing, the cycle of season is at disorder, ecological disaster is frequent now round the globe and our environment is at margin.
-Under these circumstances, there arose a new theory of reading nature writing during the last decade of the previous century called Ecocriticism. It is a worldwide emergent movement which came into existence as a reaction to man's anthropocentric attitude of dominating nature.
-We should make change in our attitude to nature. Literature does not float above life, so it has its role to play.
-The term ecocriticism was first coined by William Rueckert in his critical writing "Literature and Ecology: An Experiment in Ecocriticism" in 1978.
-It also advocates systematic usages of natural resources like coal, gas, forests, oil, etc. for a sustainable future.
-Ecocriticism gives emphasis on this eco-consciousness removing the ego-consciousness man .The present environmental crisis is a bi-product of human culture.
-There are two waves of ecocriticism as identified by Lawrence Buell. The first
wave ecocritics focused on nature writing, nature poetry, and wilderness
fiction"(Buell 138)They used to uphold the philosophy of organism. Here
environment effectively means natural environment. (Buell 21)The aim of the
wave was to preserve 'biotic community'(Coupe 4)
-The second wave ecocritics inclined towards environmental justice issues and a 'social ecocriticism' that takes urban landscape as seriously as 'natural landscape' (Buell 22). This wave of ecocriticism is also known as revisionist ecocriticism. It seeks to locate the vestiges of nature in cities and exposes crimes of eco-injustice against society's marginal section.
-Ecocriticism is not merely the study of nature as represented in literature. Nature here does not mean a mere fancy of its beautiful aspects like plants and animals. Nature here means the whole of the physical environment consisting of the human and the nonhuman. The interconnection between the two creates a bond which is the basis of Ecocriticism. As long as there is a harmony between the living and the non-living, there prevails a healthy eco-system for the benevolence of mankind as well as the earth.
-Anthropocence vs Biosense: Human nature is essentially anthropocentric which positions humans on top. As earth's only literary being, man considers himself as superior to every other organism. But ecocriticism decentres humanity's importance to every object of environment. In ecology, man's tragic flaw is his anthropocentric as opposed to biocentric vision, and his compulsion to conquer , harmonise ,domesticate ,violate and exploit every natural thing. Anthropocentric assumes the primacy of humans, who either sentimentalise or dominate.
Presentation by Cathy Fitzgerald at Sustainability and Modern Society seminar series on art, philosophy and sustainability, University College Cork, Ireland, 16 Oct 2012.
are there formal/conceptual/theoretical tools that can expand the way we use cinema to present a more comprehensive ecological (ecocentric) ecopoetic view, over and above films that primarily address environmental/conservation themes?
-examine how methodologies in an art & ecology practice may serve to re-imagine relations/perceptions/politics towards the more-than-human
-what potentials are offered by new social networks
Community-Building for Organizations Managing Change Using New Media
Guest lecture presented by Prof. Dean Kruckeberg, University of North Carolina at London College of Communication, University of the Arts London, 15th May 2014
The first Irish signatory to #CultureDeclaresEmergency and eco-social artist, researcher and educator, Dr Cathy Fitzgerald, discusses the new era, the Symbiocene. The Symbiocene is the new epoch in human history, beyond the ecocide of the Anthropocene, in which emergent humanity celebrates and respects all life's diversity and develops new Earth-aligned intellectual and emotional features. Cathy's talk identifies that the Symbiocene can help cultural workers and others frame their work, especially ecological art practices situated in communities that help people envision new ideas, practices and values for a better, more just and beautiful world. Cathy uses the Symbiocene to help deepen understanding of her ongoing eco-social art practice: The Hollywood Forest Story - 'the little wood that could'. See hollywoodforest.com/portfolio/ongoi…d-forest-story/
Cathy was invited by Dr. Nessa Cronin, Irish Studies, National University of Galway and Professors Karen Till and Gerry Kearns, Maynooth University, Ireland to speak for the Art & Geography: Art, Activism and Social Engagement in the Age of the Capitalocene panel at the 7th EU Geo Congress in Galway, recorded 16 May 2019.
Cathy wishes to acknowledge Dr Frances Fahy and Dr. Kathy Reilly (EUGEO Conference Co-Chairs and organisers for the bursary that she was awarded that enable her to attend the congress).
This presentation is a synopsis of a study I did in 2017 where I examined the absence of art and sustainability policies where I live in County Carlow. However, it soon became an all Ireland study. It was presented first at the 2018 Irish Geographers Conference in Maynooth, 10 May. This version is an edited booklet available at http://www.photobox.ie/creation/5586057123
More Related Content
Similar to The Ecological Turn: Why and How Can We Best Articulate Slow Art and Ecology Practices?
Interdisciplinary research frontiers of anthropology for climate changeMd Tahmid Hasan
American Anthropological Association (AAA) published a paper on climate change to give anthropologists and anthropology a guideline on how they should or can approach climate change where there strengths can be used best.
This presentation is based on the sixth chapter of that publication which was titled "Interdisciplinary Research Frontiers".
Presentation for International Perspectives on Participation and Engagement in the Arts conference, University of Utrecht, June 2014. Some perspectives and issues arising from the AHRC-funded Connected Communities pilot demonstrator project, Remaking Society. For more details visit http://remaking society.ageofwe.org
No one vision is sufficient in and of itself – visions can guide but only by collaborative action in a creative generative process can visions grow and become part of an ongoing positive sociocultural reality.
Without taking into account the many worldviews that currently co-exist and crafting ways of including them in a positive and healthy form we will continue to alienate vast sections of all communities of humankind.
Ecocriticism-During the last few decades, Environment has pose.docxpauline234567
Ecocriticism
-During the last few decades, Environment has posed a great threat to human society as well as the mother earth. The extensive misuse of natural resources has left us at the brink of ditch. The rainforests are cut down, the fossil fuel is fast decreasing, the cycle of season is at disorder, ecological disaster is frequent now round the globe and our environment is at margin.
-Under these circumstances, there arose a new theory of reading nature writing during the last decade of the previous century called Ecocriticism. It is a worldwide emergent movement which came into existence as a reaction to man's anthropocentric attitude of dominating nature.
-We should make change in our attitude to nature. Literature does not float above life, so it has its role to play.
-The term ecocriticism was first coined by William Rueckert in his critical writing "Literature and Ecology: An Experiment in Ecocriticism" in 1978.
-It also advocates systematic usages of natural resources like coal, gas, forests, oil, etc. for a sustainable future.
-Ecocriticism gives emphasis on this eco-consciousness removing the ego-consciousness man .The present environmental crisis is a bi-product of human culture.
-There are two waves of ecocriticism as identified by Lawrence Buell. The first
wave ecocritics focused on nature writing, nature poetry, and wilderness
fiction"(Buell 138)They used to uphold the philosophy of organism. Here
environment effectively means natural environment. (Buell 21)The aim of the
wave was to preserve 'biotic community'(Coupe 4)
-The second wave ecocritics inclined towards environmental justice issues and a 'social ecocriticism' that takes urban landscape as seriously as 'natural landscape' (Buell 22). This wave of ecocriticism is also known as revisionist ecocriticism. It seeks to locate the vestiges of nature in cities and exposes crimes of eco-injustice against society's marginal section.
-Ecocriticism is not merely the study of nature as represented in literature. Nature here does not mean a mere fancy of its beautiful aspects like plants and animals. Nature here means the whole of the physical environment consisting of the human and the nonhuman. The interconnection between the two creates a bond which is the basis of Ecocriticism. As long as there is a harmony between the living and the non-living, there prevails a healthy eco-system for the benevolence of mankind as well as the earth.
-Anthropocence vs Biosense: Human nature is essentially anthropocentric which positions humans on top. As earth's only literary being, man considers himself as superior to every other organism. But ecocriticism decentres humanity's importance to every object of environment. In ecology, man's tragic flaw is his anthropocentric as opposed to biocentric vision, and his compulsion to conquer , harmonise ,domesticate ,violate and exploit every natural thing. Anthropocentric assumes the primacy of humans, who either sentimentalise or dominate.
Presentation by Cathy Fitzgerald at Sustainability and Modern Society seminar series on art, philosophy and sustainability, University College Cork, Ireland, 16 Oct 2012.
are there formal/conceptual/theoretical tools that can expand the way we use cinema to present a more comprehensive ecological (ecocentric) ecopoetic view, over and above films that primarily address environmental/conservation themes?
-examine how methodologies in an art & ecology practice may serve to re-imagine relations/perceptions/politics towards the more-than-human
-what potentials are offered by new social networks
Community-Building for Organizations Managing Change Using New Media
Guest lecture presented by Prof. Dean Kruckeberg, University of North Carolina at London College of Communication, University of the Arts London, 15th May 2014
The first Irish signatory to #CultureDeclaresEmergency and eco-social artist, researcher and educator, Dr Cathy Fitzgerald, discusses the new era, the Symbiocene. The Symbiocene is the new epoch in human history, beyond the ecocide of the Anthropocene, in which emergent humanity celebrates and respects all life's diversity and develops new Earth-aligned intellectual and emotional features. Cathy's talk identifies that the Symbiocene can help cultural workers and others frame their work, especially ecological art practices situated in communities that help people envision new ideas, practices and values for a better, more just and beautiful world. Cathy uses the Symbiocene to help deepen understanding of her ongoing eco-social art practice: The Hollywood Forest Story - 'the little wood that could'. See hollywoodforest.com/portfolio/ongoi…d-forest-story/
Cathy was invited by Dr. Nessa Cronin, Irish Studies, National University of Galway and Professors Karen Till and Gerry Kearns, Maynooth University, Ireland to speak for the Art & Geography: Art, Activism and Social Engagement in the Age of the Capitalocene panel at the 7th EU Geo Congress in Galway, recorded 16 May 2019.
Cathy wishes to acknowledge Dr Frances Fahy and Dr. Kathy Reilly (EUGEO Conference Co-Chairs and organisers for the bursary that she was awarded that enable her to attend the congress).
This presentation is a synopsis of a study I did in 2017 where I examined the absence of art and sustainability policies where I live in County Carlow. However, it soon became an all Ireland study. It was presented first at the 2018 Irish Geographers Conference in Maynooth, 10 May. This version is an edited booklet available at http://www.photobox.ie/creation/5586057123
This presentation is a synopis of a study, in which I examined international art and sustainability policies for county Carlow, where I live. The study quickly grew to scope arts and sustainability policy for all of Ireland.
Cathy Fitzgerald, creative practice-thesis doctoral scholar from the National College of Art & Design, Dublin, was invited by TheGallery, Bournemouth Arts University, UK to take part in a 'Text+Work' public talk on 14 Feb 2013. TheGallery's 'Text+Work' talks are designed to further developed the conversation and narrative surrounding exhibitions at TheGallery. Currently the exhibition is Jane Wilbraham's wood sculptures.
Cathy's talk was described as an 'Art in Context session on Land management' at TheGallery.
With a background in biological research and visual culture, Cathy reviewed the growing ecological crisis; discussed contemporary art & ecology practice, ecocriticism of cultural works (visual culture and nature cinema), radical permanent forest management and new national forest policy in Ireland that is moving towards permanent, non clearfell forestry. Cathy's background in these areas, have fed her arts practice that is resulting in a long term art & ecology forest project based in her immediate environment, a small woodland in rural Ireland. From this work Cathy is developing an applied, transferable philosophy of deep sustainability, rooted in actions, theory and the many lessons from the forest in which she lives.
‘Beauty will save the world’: An Interdisciplinary Postgraduate Workshop on Art and Social Change, University of Bristol, 7-8 September 2010
Confirmed Keynote Speakers: Professor Alex Danchev, School of Politics and International Relations, University of Nottingham
Dr Iain Biggs and Dr Victoria Walters, Faculty of Creative Arts, University of the West of England
Hosted by the Department of Politics and sponsored by the Institute for Advanced Studies and the Global Insecurities Centre, University of Bristol
How does art construct, resist and contest dominant identities and social practices? How does art open up possibilities for (re)creating the world? What are the relationships between art, aesthetics, and politics? What are the power relations involved in art? Whose art, and whose values are best placed to change the world? Can engaging with art help us develop new epistemologies and research methodologies? Can beauty ‘save’ the world?
This two-day interdisciplinary postgraduate workshop is premised on the assumption that art actively constructs social ‘reality’, as opposed to merely reflecting it. Against dominant pronouncements privileging the centrality of rationalism and science as the legitimate avenues towards knowledge and social change, this workshop poses the question: what does the ‘serious’ pursuit of ‘progress’ miss out on when it disqualifies the artist’s imaginary as superfluous, lacking impact, unimportant?
The workshop aims to bring together postgraduate students working in and across various disciplines to share research which looks at the contested meanings of art and aesthetics, explores art in different cultural and historical settings, and examines the ways in which art and its constructions of beauty, society, politics can help in understanding, and changing, the social world. The workshop will also enable postgraduate students to engage and network with more established scholars, who will be present at the workshop as keynote speakers, panel chairs and roundtable discussants.
We welcome paper and panel proposals (2-3 presenters per panel) which engage specifically with the theme of art and social change, from various disciplines, including but not limited to: Archaeology, Anthropology, Classics, English, Modern Languages, History, History of Art, Visual and Performing Arts, Cultural Studies, Geography, Philosophy, Sociology and Politics.
Papers can include think pieces or works in progress. We encourage a diversity of presentation styles, from ‘traditional’ papers to interactive sessions, involving short film screenings, musical and dramatic performances, and the display of paintings, sculpture, photographs, and installation art. Presenters will be assigned a 30-minute slot for their presentation, which can be used by the presenter as they wish, but must include at least 5 minutes for audience questions.
ArtLinks Director and Member discusses the ArtLinks.ie project, a 5 county arts programme. The use of social media on its website is both connecting and profiling arts practitioners in this region and uncovering the wealth of artistic work to the wider community
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Characterization and the Kinetics of drying at the drying oven and with micro...Open Access Research Paper
The objective of this work is to contribute to valorization de Nephelium lappaceum by the characterization of kinetics of drying of seeds of Nephelium lappaceum. The seeds were dehydrated until a constant mass respectively in a drying oven and a microwawe oven. The temperatures and the powers of drying are respectively: 50, 60 and 70°C and 140, 280 and 420 W. The results show that the curves of drying of seeds of Nephelium lappaceum do not present a phase of constant kinetics. The coefficients of diffusion vary between 2.09.10-8 to 2.98. 10-8m-2/s in the interval of 50°C at 70°C and between 4.83×10-07 at 9.04×10-07 m-8/s for the powers going of 140 W with 420 W the relation between Arrhenius and a value of energy of activation of 16.49 kJ. mol-1 expressed the effect of the temperature on effective diffusivity.
Climate Change All over the World .pptxsairaanwer024
Climate change refers to significant and lasting changes in the average weather patterns over periods ranging from decades to millions of years. It encompasses both global warming driven by human emissions of greenhouse gases and the resulting large-scale shifts in weather patterns. While climate change is a natural phenomenon, human activities, particularly since the Industrial Revolution, have accelerated its pace and intensity
Artificial Reefs by Kuddle Life Foundation - May 2024punit537210
Situated in Pondicherry, India, Kuddle Life Foundation is a charitable, non-profit and non-governmental organization (NGO) dedicated to improving the living standards of coastal communities and simultaneously placing a strong emphasis on the protection of marine ecosystems.
One of the key areas we work in is Artificial Reefs. This presentation captures our journey so far and our learnings. We hope you get as excited about marine conservation and artificial reefs as we are.
Please visit our website: https://kuddlelife.org
Our Instagram channel:
@kuddlelifefoundation
Our Linkedin Page:
https://www.linkedin.com/company/kuddlelifefoundation/
and write to us if you have any questions:
info@kuddlelife.org
Willie Nelson Net Worth: A Journey Through Music, Movies, and Business Venturesgreendigital
Willie Nelson is a name that resonates within the world of music and entertainment. Known for his unique voice, and masterful guitar skills. and an extraordinary career spanning several decades. Nelson has become a legend in the country music scene. But, his influence extends far beyond the realm of music. with ventures in acting, writing, activism, and business. This comprehensive article delves into Willie Nelson net worth. exploring the various facets of his career that have contributed to his large fortune.
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Introduction
Willie Nelson net worth is a testament to his enduring influence and success in many fields. Born on April 29, 1933, in Abbott, Texas. Nelson's journey from a humble beginning to becoming one of the most iconic figures in American music is nothing short of inspirational. His net worth, which estimated to be around $25 million as of 2024. reflects a career that is as diverse as it is prolific.
Early Life and Musical Beginnings
Humble Origins
Willie Hugh Nelson was born during the Great Depression. a time of significant economic hardship in the United States. Raised by his grandparents. Nelson found solace and inspiration in music from an early age. His grandmother taught him to play the guitar. setting the stage for what would become an illustrious career.
First Steps in Music
Nelson's initial foray into the music industry was fraught with challenges. He moved to Nashville, Tennessee, to pursue his dreams, but success did not come . Working as a songwriter, Nelson penned hits for other artists. which helped him gain a foothold in the competitive music scene. His songwriting skills contributed to his early earnings. laying the foundation for his net worth.
Rise to Stardom
Breakthrough Albums
The 1970s marked a turning point in Willie Nelson's career. His albums "Shotgun Willie" (1973), "Red Headed Stranger" (1975). and "Stardust" (1978) received critical acclaim and commercial success. These albums not only solidified his position in the country music genre. but also introduced his music to a broader audience. The success of these albums played a crucial role in boosting Willie Nelson net worth.
Iconic Songs
Willie Nelson net worth is also attributed to his extensive catalog of hit songs. Tracks like "Blue Eyes Crying in the Rain," "On the Road Again," and "Always on My Mind" have become timeless classics. These songs have not only earned Nelson large royalties but have also ensured his continued relevance in the music industry.
Acting and Film Career
Hollywood Ventures
In addition to his music career, Willie Nelson has also made a mark in Hollywood. His distinctive personality and on-screen presence have landed him roles in several films and television shows. Notable appearances include roles in "The Electric Horseman" (1979), "Honeysuckle Rose" (1980), and "Barbarosa" (1982). These acting gigs have added a significant amount to Willie Nelson net worth.
Television Appearances
Nelson's char
Alert-driven Community-based Forest monitoring: A case of the Peruvian Amazon
The Ecological Turn: Why and How Can We Best Articulate Slow Art and Ecology Practices?
1. The Ecological Turn:
How can we best articulate
slow art and ecology
practices?
C a t h y F i t z g e r a l d | I r e l a n d
Feeding the Insatiable:
A Creative Summit, Dartington
Hall, Devon, UK, 9-11 November 2016
2. Outline: articulating long-term
ecological art practices
• discuss my practice as an example to argue why long-
term ecological art practices are important: ‘memes for
the Symbiocene’ not the Anthropocene
• Why long-term multi-constituent practices remain
marginalised in art education, art publications and
little understood by audiences
• Articulation matters! Why developing a theory-
method framework is empowering and urgent
• It’s why I propose that a Guattarian ecosophy – action
research framework as a valuable guide for
practitioners and educators, and for non-artists
collaborating on long-term ecological arts projects.
3. “…we live
in the most
destructive
moment in
65 million
years!”
Brian Swimme, Professor of Integral Studies and
evolutionary philosopher,
The New Story, 2006 (film)
4. Yet “there are
opportunities even in
the most difficult
moments.”
Dr. Wangari Maathai, Nobel Peace Prize winner,
first woman in Africa to get a Ph.D and
Kenyan ,Green Belt, forest planter founder
5. living in the Anthropocene
" Harraway (2015) renames the Anthropocene as the
Capitalocene, as it rests on the unsustainable
advance of a globalised, extract-at-all costs capitalism
6. the Plantationocene
" And Harroway further defines industrial culture has
simplified much of the planet’s living diversity into
‘slave’ monoculture plantations – the Plantationocene
Image courtesy of Irish singer-songwriter Cathy Davy’s New Forest Album 2016 video
7. Others confirm we are living
in a ‘sociopathic society’
Charles Derber, 2014
8. Albrecht (2016) writes
how instead we must
urgently value the
mutual flourishing of
all life
He urges we must
quickly adopt new
thinking, life-enriching
practices, and thus
develop policies and a
politics of mutualism
entering the
Symbiocene
Slovenian non-clearfell, mixed species
permanent forestry is an e.g. of mutualism
- It is illegal to clearfell forests there!!
9. Cultural responses are crucial
facts + culture =
is what changes
societal behaviour
(Lakoff, 2010)
Sacha Kagan andVolker Kirchberg, 2008
10. I’m particularly interested in creative practices
that build bridges between art, science
and other ways of knowing; that recognise the
value of lived experience, local knowledges and
the intrinsic rights of nonhuman communities to
thrive
photo: emily coghlan
11. long-term ecological art
(eco-art) practices are valuable
my eco-social art
practice is a gathering
of skills, lifeworld
experiences and
actions.
12. Hollywood forest (2010)
I blend these various skills
and lifeworld knowledges
to explore how we can
move from the life-
limiting, unsustainability
of monoculture forestry
….to instead, investigate
new-to-Ireland
Close-to-Nature continuous
cover forestry approaches.
13. 13
2008 interested neighbours and local Green Party
Cllr. Malcolm Noonan, learn about about close to nature,
non clearfell forestry from Jan Alexander
ecological forestry:
for the Symbiocene
15. Hollywood forest, Blackstairs Mountains, South Carlow, Ireland (2015)
advanced new experimental videos that reflect my and others new
sustainable forestry experiences and learning
forest data from Hollywood has contributed to Irish Forestry Journal
on new-to-Ireland continuous cover forestry (CCF) approaches
has enabled me to advocate this forestry management approach as the
key point of Irish Green Party forest policy (2012)
nd from living with Hollywood, I have developed a political voice
to champion developing international laws against the crime of ecocide
17. why are eco-art practices
not more common?
Ecology challenges the Western worldview.
Joseph Beuys, in the 1980s declared
everyone should be taught ecoliteracy, he
understood ecology fundamentally
" decenters the primacy of
humankind and human concerns,
of which much art is currently
focused
" challenges the idea of the solitary
individual, the artistic genius
working alone
" that new art (and political) practices,
that emphasise the social and
environmental were needed
18. Unfortunately,
incomprehension of valuable
long-term, multi-constituent
eco-art practices continues
(Goto and Collins, 2016)
This hinders recognition and
limits understanding of such
practices in contemporary art
education and for non-artists
working on such projects
19. Articulacy is important!
‘Articulacy has a moral point, not just in
correcting what may be wrong views but also
in making the force of an ideal that people
are already living by more palpable, more
vivid for them;
And by making it more vivid, empowering
them to live up to it in a fuller and more
integral fashion.’
Charles Taylor, cited in Dean Moore, 2016
20. I began to see patterns in
the aims of such multi-
constituent practices
and
that these practices’
routinely involve
similar key method
stages (and I’m indebted
to Chris Seeley’s art &
action research here).
Case Studies:
Helen Mayer Harrison and Newton
Harrison (US/International,
watersheds, forests, rivers, lagoons,
meadows)
Insa Winkler (Germany, pigs, Oak
forests)
Simon Read (UK, rivers, estuaries)
Deirdre O’Mahony (Ireland, peat-lands)
Ursula Biemann (global migration,
resources, forests, rights of nature)
My practice (forests, ecocide law
advocacy)
21. Elliott (2012) briefly applied
Guattari’s lifetimes’ work on the
theory and applications of
transversality and his last
writings of ecosophy and
chaosophy to ecological art
practices
While not examining eco-art
practices specifically, Iain Biggs
(2014) analyses in applying
transversality to deepen
understanding of multi-
constituent art-led practices is
also important
22. Guattari’s applied theory of
transversality is much extended
for an ecological context in his last
book Chaosmosis: An Ethico-
Aesthetic Paradigm (1992) and his
last ‘Re-Making Social
Practices’ (1992) article.
The late ecosocial activist-
therapist-theorist and new
media enthusiast, Félix
Guattari (1930-1992)
23. Guattari understood that
" the environmental crisis was rooted in calcified
mental and unquestioned social practices
" that capitalism seizes people’s minds as an ‘overcode’:
" that the politics of the left or right cannot defeat
it
" and that a scientific - technological paradigm was
gravely insufficient to counter its pervasiveness
" that there is utmost necessity to ‘re-make social
practices’ and re-think politics, that we must move
from a scientific to an ethico-aesthetic paradigm
24. Guattari’s ecosophy
" we need to advance “the three
ecologies”, the mental, social and
environmental spheres together,
speaks to the aim and potential of
long term eco-social art practices
priorities
" I call ecological art practices “eco-
social art practices”, to underline
that these practices are not only
about environmental restoration or
resilience, but act politically as a form
of creative resistance
Guattari understood through applied therapeutic practice and
his lifelong political activism, why and how capitalism, particularly
globalised capitalism, and the western worldview is sociopathic
25. Guattari argues
" the means to advance
resistance to capitalism lies
in micropolitical
assemblages that operated
transversally, that ‘softly
subvert’ the status quo
So my transversal practice aims
to softly subvert the
stranglehold of unsustainable,
industrial monoculture forestry
26. Through Guattari we
can learn that
sustainability is
contingent, emergent
Rather than a one-size fits
all sustainability directive,
enacting sustainability is an
ever-evolving state that is
enriched by democratic
participation and different
ways of knowing the world.
So, Guattari’s ecosophy
identifies the target, main
components and potential
of transversal practices
28. A methodology for
complexity
action research is not a prescriptive
model but a reactive pathway, each
step allows plenty of opportunity
for creativity and serendipity, action
and reflection.
29. practical challenges
Articulating my practice, for e.g:
action research identifies and
orders a repeating cycle of
method stages, from worthwhile
purposes to….
Employing the practical skills and learning of
continuous cover forestry from forestry contractor,
Sean Hoskins
30. to valuing many ways of
knowing (experiential, lived,
traditional, Indigenous knowledge)
Being-in-the-forest reminds us of the
complex interconnections that foster a
thriving forest
32. Artistic knowing
is essential
in action research for
sustainability, to
translate
experiential
knowing and
to weave other
ways of knowing
into cohesive and
engaging projects
(Chris Seeley, 2011, 2014)
33. " Hollywood forest is a home to others
participation and
democracy stage:
developing ideas for
practices that extend a
duty of care to
others, including the
non-human
34. participation and democracy stage:
leads to new knowings and particularly
new life-sustaining policies
New sustainable forest policy
35. action research
prioritises an emergent
communicative space
for exchanges and
learning
Sharing views with foresters, landowners, carpenters, art officers, artists,
curators, tree lovers: Hollywood, 2014
36. Action research therefore |
confirms what pioneers of long
term ecological art practice, the
Harrisons, have argued:
that the most valuable outcome of
their multi-constituent practice is
‘conversational drift’ :
how the questions, the new
images, texts, diverse perspectives,
develop a communicative means
for envisioning new values,
possibilities, practices and policies
for a specific context and
environment
37. And action research orders the complex iterations
of a transversal practice as a recognisable cycle of
repeating activities
Action research’s recognised terms, overcome the
confusion such exploratory practices create and
encourage peer-to-peer learning
In these urgent times, we need a recognised means
to compare effective practices and to encourage
more to creatively engage with eco-social concerns.
38. …through my research I argue that a:
Guattari ecosophy - action research framework
significantly improves the articulation of long-term
eco-social art practices
And the means to develop and maintain
transversal practices
It therefore advances understanding of such
practices for the emergent art & ecology field.
39. Sharing the guiding theory-method
ecosophy - action research framework:
by audio-visual ebook and print-on-
demand version, coming soon!
Good morning everyone, I wish to thank Richard for inviting me to share my recent art practice-theory research. I’m a New Zealander who has been living in Ireland these last 21 years. I have recently successfully defended my doctoral research so the ideas in this talk will be available shortly.
Its very moving for me to be here again – four years ago I was here attempting to discuss my long-term practice to turn a tree plantation into a forest which I was endeavouring to progress to deepen understandings of eco-art practice. I was very fortunate that the late Dr. Chris Seeley was in the audience and gave me considerable feedback in sharing her research of the value of art to direct action research. I’d like to dedicate my presentation to Chris and to the spirit of advancing the art and ecology field.
In todays talk, I will briefly use my creative practice as an
example why long-term ecological art practices are important: I see them as ‘memes for the Symbiocene’ not the Anthropocene
However as many of you know, an ecological worldview brings complexity to such practices. Such practices, in turn,
challenge art practice conventions: with the result that they remain marginalised in art education, in art publications and consequently little understood by audiences
I discuss why articulation matters! And why developing a guiding theory-method framework is empowering and urgent for practitioners and educators, and for non-artists collaborating on long-term ecological arts projects.
On my website, I have 2 quotes to remind myself of the difficult context that we are working in. As you know we are living in the unprecedented age of the Anthropocene, the age when industrial western culture is now recognised as changing the geology and life-support systems of the Earth! Prof. Brian Swimme says: The struggle of embracing our moment – is the struggle that we live in the most destructive moment in 65 million years.’
And I have a quote from a forest-planter, the first woman to gain a PhD in Africa, noble peace winner Wangari Maathi, to remind me that ‘there are opportunities even in the most difficult moments’.
We know from environmental philosophers, such as Kathleen Dean Moore, that with the scientific understanding we now have of the ecological emergency, that we have a moral imperative to act, even if the consequences of our actions appear limited – this is an important point to convey to any art student or creative practitioner. To look the other way is like any other crime; morally unconscionable and it promotes the status quo. In many ways my work is directed to newcomers to the art & ecology field as I would like so many more to engage in this area –particularly as scientists are saying this is the hinge decade where we have the most opportunity to avoid the catastrophes that are rapidly unfolding.
I’ve found it useful to consider how Donna Harraway (2015) and others rename the anthropocene as the capitalocene, as it better identifies the nature of the planetary emergency – that it is fueled by the unsustainable advance of a globalised, extractive capitalism (although the roots of the problem are ancient and lie in the heart of the Western worldview which sees itself separate and devalues the nonhuman world)
Harroway further characterises a large engine of the Anthropocence as the ‘Plantationocene’
as industrial culture has simplified much of the planet’s living diversity into ‘slave’ monoculture plantations
Industrial mononculture clearfell forestry, the main type of forestry in Ireland and large parts of the colonised world, is the focus of my eco-social art practice
Others such as sociologist Charles Derber have argued that
since industrial society is causing the 6th great mass extinction -- ‘the great dying’, it means that we are living in a sociopathic culture (Derber, 2014),
(I will come back to this point later as it underlines the theorist I chose to use to significantly increase understanding of ecological art practices)
So how do we move away from the endgame of the Anthropocene?
Former Prof. of sustainability, Glenn Albrecht (2016) talks how we must urgently ‘exit the anthropocene and enter the Symbiocene’!
He argues that we must quickly adopt new thinking, new practices and a politics where mutualism is prioritised, where we value the symbiotic mutual flourishing of all life
He talks that we must develop ‘memes’ for the Symbiocene – I see some longterm eco art practice, mine included as working as powerful memes for societal learning and change; practical philosophies for living life differently, for living life well
Cultural responses are crucial for developing new life-sustaining values. Although not widely appreciated in art education or in national culture policies, at UN level it is recognised that cultural responses are one of the four pillars for driving examples of sustainablity in our local areas, for our local communities
Even recent neuroscience research as outlined by George Lakoff confirms that facts alone will not change societal behaviour -
I’m particularly interested in creative practices that build bridges between art, science and other ways of knowing;
that recognise the value of lived experience, local knowledges and the intrinsic rights of human and nonhuman communities to thrive
I see long-term ecological art practices as being very valuable;
they operate by artistically weaving art + non-art activities together in a cyclical process of questions and reflections, often to address unsustainable business-as-usual thinking and practices
In my eco-social art practice, I combine lifeworld (lived experience/tacit knowledge) and disciplinary knowledge; I weave my past experience in research science with the practice of ‘new-to-Ireland’ continuous cover forestry , and my Green Party political and policy-making experience. I utilise my video/photography and online writing skills to translate my new forest practices in the conifer plantation I live in and to make the project accessible overall to those not familiar with advances in forestry. A key practice for weaving, reflecting on and communicating this practice to a diverse audience comes from my experience in looking after an online community and my MA in Virtual realities: I have been able to manage a multi-constituent project and connect with local and secondary audiences from a rural location using social media
I blend these various skills and lifeworld knowledges to explore how we can move from the life-limiting, unsustainability of monoculture forestry
….to instead, investigate new-to-Ireland Close-to-Nature continuous cover forestry approaches.
The bottom image is of an area in the plantation that I live with, that is changing to a mixed species, permanent forest which we call Hollywood. This area is sheltered by the conifers that we have selectively felled every three years to create pockets of light, so as to encourage natural regeneration of native species.
Close to Nature forestry requires new skills of how to carefully to mark trees for the future forest and selectively fell others – the conifers and native species are used together for integrated aims for biodiversity, enriched stable soils, disease resilience, carbon sequestration, firewood and future timber production. (Above is the 1st tree-marking workshop I held for myself and my interested neighbours; observation skills are crucial to this type of forestry)
The plantation is slowly becoming a forest. Planted about 40 years ago, the transformation project is now in its 8th year and it will take some decades to realise its potential as a truly flourishing forest. The project is echoing and enhancing the work of small numbers of professional foresters and private landowners who are beginning to imagine and practice a new forestry for Ireland. Due to the timescales involved and an industry that is currently built around even aged mono-crop timbers, changes in forestry will take time. Hollywood is the smallest Close-to-Nature continuous cover forest in Ireland but even though it is small I like to think of it as the
I like to think of it as the little wood that could.
Because while it is a small and slow art practice, it has advanced new experimental videos that reflect my and others’ new forestry experiences; forest science data from Hollywood has contributed to a recent forest journal article,
and the project has enabled me to advocate these practices as the key approach to sustainable forestry for the Irish Green Party
and from living inside Hollywood, I have developed a political voice to share news of developing laws against the crime of ecocide (how industrial practices, like monoculture forestry are a slow violence against life itself).
…however, despite the urgent need for new life-sustaining values, new thinking and practices, creative practices such as mine remain marginalised
For example, in Ireland, there is no mention at national level of culture having a crucial role to envisage situated and emergent, relevant and engaging ideas of sustainability
Art and ecology programmes remain rare in Ireland and the UK
‘Nature’ as a thematic concern is still popular (and needed) but the potential for multi-constituent ecological art practices to play a crucial role in moving society in more life-sustaining directions, is largely under-realised in the art world and beyond
Why are eco-art practices not more common: ecology challenges the Western worldview. Beuys, in the 1980s declared everyone should be taught ecoliteracy, he understood ecology fundamentally
decenters the primacy of humankind and human concerns, of which much art is currently focused
Ecology challenges the idea of the solitary individual, the artistic genius working alone, the possessive individualism celebrated in the neolib economy, and that creativity only resides in art
Beuys understood that new art practices, that emphasise the social and environmental were needed
creating responses for an ecological paradigm are also challenging; particularly when art career recognition and funding is still tied up largely with the creation of object based artworks
And sadly, 30 years later, ecoliteracy is still not a fundamental of art education
And 30 years on, leading practitioners are still encountering Incomprehension of their long-term, multi-constituent eco-art practices (Goto and Collins, 2016)This hinders recognition and limits understanding of such practices in contemporary art education, for non-artists working on such projects and their audiences
If we see these practices as blueprints, practical philosophies for living life differently more sustainably, then clear articulation of such practices is vital.
As philosopher Charles Taylor argues
‘Articulacy has a moral point, not just in correcting what may be wrong views but also in making the force of an ideal that people are already living by more palpable, more vivid for them;
and by making it more vivid, empowering them to live up to it in a fuller and more integral fashion.’
For what often occurs in ecological art practice, is that not only that environments are restored and new practices are adopted but the practitioners mental ecologies are transformed; their lives becomes a meme
Getting to my research of articulating ecological art practices, I looked at many leading practices.
On the surface these practices seem very diverse but in my research I began to see patterns in the aims of such practices, (generally evolving new context-specific values and practices for sustainability to counter existing unsustainable situations)
and that these practices’ routinely involved similar key method stages.
While the literatures routinely categorise such practices as transdisciplinary, and they are to a point, more recent research indicates they act transversally.
That the embody the therapist-theorist and political activist, Felix Guattari’s lifetimes work on transversality. Guattari argued transversality, rather than transdisciplinary theories can significantly deepen understanding of how diverse assemblages of lived experience and disciplinary knowledge can work to foster new life values, new directions of thought and practice.
While not examining eco-art practices specifically, my research was supported by Iain Biggs (2014) analyses in applying transversality to deepen understanding of multi-constituent art-led practices is also important
While some have dismissed Guattari’s slim Three Ecologies book as an unfinished concept, I began to realise this recent research was identifying a greater contribution.
In particular, Elliott’s overview of Guattari’s lifetimes work and his particular application of transversality, ecosophy and chaosophy really interested me when he applied these theories briefly to deepen understanding of the the multi-constituent practices of the pioneering practices of Helen and Newton Harrison.
I realised that Guattari’s ecosophy is a means to recognise how new values, subjectivities arise from individual-collective assemblages that combine lifeworld and disciplinary knowledges, like ecological art practices
I make claims for Guattari’s theory to guide understanding of long-term eco art practices for a number of reasons. Remember when I said earlier, that western industrial culture is sociopathic, Guattari deeply understood the psychology and social aspects of the planetary predicament
He understood that the environmental crisis was rooted in calcified mental and unquestioned social practices
He understood capitalism seizes people’s minds as an ‘overcode’, (from his extensive political activism experience, that the politics of the left or right could not defeat it
And that a scientific -technological paradigm was gravely insufficient to counter its pervasiveness; tech advances and renewables will not treat the root of the crisis
Essentially, Guattari recognised the utmost necessity to ‘re-make social practices’ (1992), and re-think politics, that we must move from a scientific to an ethico-aesthetic paradigm
Many have commentated that Guattari’s ideas are complex and one can feel like one is falling down the rabbit hole chasing his ideas. However Guattari’s ideas of transversality (developed from the 70s onwards) and his key ideas that we need to advance the 3 ecologies the mental, social and environmental spheres together, speaks to the aim and potential long term eco-art practices priorities
Guattari completely understands the madness and chaos of sociopathic culture.
Because of Guattari’s “three ecologies”, I prefer to call ecological art practices “eco-social art practices”, to better emphasise that these practices enact not only environmental learning but also that they are socially transformative for their practitioners and their audiences.
Guattari realised the means to advance resistance to capitalism lay in micropolitical assemblages that operated and communicated transversally –
In his words,
these formations become “molecular revolutions” or “softly subvert” globalised capitalism and the Western worldview –
So, I argue my transversal practice aims to softly subvert the stranglehold of unsustainable industrial forestry
Guattari’s concepts help build understanding that sustainability is contingent, Rather than a one-size fits all sustainability directive, it is an ever-evolving state that is enriched by democratic participation & different ways of knowing. He describes such practices as similar to musical ‘refrains’, that they circle a problem with various knowings, new ethical understandings and aesthetic practices – and that that these are the key components to develop ‘new lines of flight’, new values, ideas and practices.
I therefore argue Guattari’s ecosophy identifies the target, main components and potential of transversal practices.
While I can’t go into too much detail, Guattari is also incredibly useful to think about new social media technologies and how they may enable and emit the learning from transversal practices. Unlike many other social theorists, Guattari celebrated and theorised the rise of independent communicative technologies and this has been an important means to explore the under-acknowledge potential of social media for long-term eco-social art practice and what I see as the potential of massive open online courses to radically develop the art and ecology field.
Guattari’s theory while it embraces and helps us understand complexity, is itself complex and not suited to describe how one practically initiates and maintains transversal practices
Interestingly, Guattari was himself interested in action research as a method approach but this was not developed during his lifetime. (Genosko)
Through Chris Seeley’s research, I found that action research, used widely in other fields, can be used to frame Guattari’s key ideas and provide an accessible method pathway for long-term eco-social art practice. I found it matched Guattari’s ideas of transversal practice when I applied it to my own and others practices in my research. The above diagram shows how AR identifies the circular pathway of questioning, reflection action and– it visualises why such practices are a profound departure from the narrow scientific (colonial) research model.
If you are worried that this approach to developing a way of work is formulaic, we can see that action research is not a prescriptive model but a reactive pathway, each step allows plenty of opportunity for creativity and serendipity, action and reflection.
For instance in my practice, Action Research (AR) identifies and orders a repeating cycle of method stages, from worthwhile purposes to practical challenges and the practical skills and learning I have gained from working with foresters at Hollywood
To valuing ‘many ways of knowing (experiential, lived, traditional, and Indigenous knowledge)
Being-in-the-forest reminds us of the complex interconnections that foster a thriving forest
AR also identifies why eco social art practices can include and develop scientific and traditional understandings,
My practice has contributed to this forest journal paper,
and
AR identifies in considerable detail why Artistic knowing is essential in action research for sustainability, to translate experiential knowing and
to weave other ways of knowing into cohesive and engaging projects
(Chris Seeley, 2011, 2014)
And AR identifies another key step in why such practices need to include diverse participation and inclusive democracy, even to how we might include the priorities of the nonhuman
AR also identifies why such projects encourage new dialogues and policies from all of the above
From my small 2 acre forest transformation work, my eco-social art practice and my lifeworld experience of knowing Green politics I advanced continuous cover forestry as the key point of Irish Green Party forest policy in 2012. I am currently the Greens spokesperson for forestry in Ireland
Action Research also confirms the significant outcome of such practices as evolving valuable, learning for change, communicative spaces.
Action research therefore confirms what pioneers of long term ecological art practice, the Harrisons, have argued:that the most valuable outcome of their multi-constituent practice is ‘conversational drift’ : how the questions, the new images, texts, diverse perspectives, develop a communicative means for envisioning new values, possibilities, practices and policies
And Action Research makes visible the complex iterations of a transversal practice as a recognisable cycle of repeating activities – it speaks to Guattari’s ecosophy and ideas of the potential of transversality.
Action research also counters time-wasting in trying to develop a methodology intuitively and greatly enhances learning and peer-to-peer exchange as it establishes recognisable method terminology. I also found it significantly clarifies the practices of key people in the art and ecology field.
In these urgent times we need a recognised means to compare effective practices and encourage more to engage with eco-social concerns.
So, in summary, while my transversal practice appears to have many elements, activities and practices
…tThrough my research I that the Guattari-action research model can more significantly articulate the significant potential and value of eco-social art practices
and the means to develop and maintain such practices;
The framework advances understanding of and for the emergent art and ecology field
To share this guiding theory-method framework, I have produced an ebook (and print on-demand version) of the key method stages of my transversal practice (available in the coming months). This follows in the spirit of Guattari’s interest in new independent media for transversal communication and how I identify blogging as a primary creative practice of my transversal project. The material in the ebook is selected from my ongoing blog of the project. www.hollywoodforest.com
Thank you!Follow ‘the little wood that could’ at: www.hollywoodforest.com
email: cathyart@gmail.com