communications in the future. But we know that, in our new information ecology, trust is more
vital than ever before. We must support media institutions and citizens as they seek out
Allcott , H. and
M. ( 2017 ),
‘ Social Media and Fake News in the 2016 Election ’,
Journal of Economic Perspectives , 31 : 2 ,
211 – 36 .
H. ( 2017 ),
‘ Media Perspectives: A Means to an End? Creating a Market for
Humanitarian News from Africa
of selfhood and right to participate in this world. Moreover, violence is absolutely integral to the markings of subjectivity, setting apart claims about identity, along with notions of civility and barbarism. Violence is always mediated through expressed dichotomies between acceptable and unacceptable behaviours, between the right to punish and the intolerable transgression, between the force of normative law and the terror of the minority. In fact, there is an entire political ecology at work in the very diagnosis of something as political violence in itself
Redfield , P.
( 2015 ), ‘ Medical
Vulnerability, or Where There is No Kit ’,
Limn , Issue 5: Ebola’s Ecologies, https://limn.it/articles/medical-vulnerability-or-where-there-is-no-kit/
: Médecins Sans
Frontières (MSF) ).
Holling , C.
S. ( 1973 ),
‘ Resilience and Stability of Ecological Systems ’,
Annual Review of Ecology and Systematics , 4 ,
1 – 23 .
Hosein , G. and
C . ( 2013 ), Aiding
Surveillance: An Exploration of How Development and Humanitarian Aid Initiatives are Enabling
Surveillance in Developing Countries ( London :
Privacy International ).
HPG ( 2018 ), A Design Experiment:
Imagining Alternative Humanitarian Action
The ecological eye aims to align the discipline of art history with
ecology, climate change, the Anthropocene and the range of politics and
theoretical positions that will help to ground such an approach. It looks both
backwards and forwards in order to promote the capacities of close attention,
vital materialism, nonhierarchy, care and political ecology. The book seeks to
place the history of art alongside its ecocritical colleagues in other
humanities disciplines. Three main directions are discussed: the diverse
histories of art history itself, for evidence of exemplary work already
available; the politics of social ecology, Marxist ecologies and anarchy,
showing its largely untapped relevance for work in art history and visual
culture; and finally, emerging work in posthumanism and new materialism, that
challenges unhelpful hierarchies across the human, animal, botanical and
geological spheres. The ecological eye concludes with an appeal to the
discipline to respond positively to the environmental justice movement.
This volume explores how current ideas about ecocriticism can be applied to Gothic narratives in order to help draw out their often dystopian ecological visions. The book argues that, from chilling Victorian panoramas to films such as Frankenstein or The Thing, the Arctic looms large as a blank screen on which fantasies of Gothic entrapment may be projected. It explores selected tales of Algernon Blackwood showing some ways in which Blackwood blurs the distinctions between the human world and a wider natural and spiritual ecology. The book examines the seventeenth-century New England Puritan influence on later Gothic representations of the natural world in North America. It provides an overview of recent studies on the American Gothic which highlight the notion of the wilderness as an ideological lens through which early settlers viewed the strange landscape they found themselves in. The book argues that, from its origins, women's Gothic fiction has undermined fictions of the human and the nonhuman, the natural and the unnatural by creating worlds in which the everyday is collapsed with the nightmarish. The book is the first to explore the Gothic through theories of ecocriticism. The structure of the volume broadly follows national trends, beginning with a British tradition, and moving through a Canadian context. It also follows through a specifically American model of the ecoGothic, before concluding with Deckard's discussion of a possible global context which could overcome national variations.
Universities have historically generated knowledge outside of specific local contexts. These pure research methodologies produce knowledge that is carefully partitioned from the practical realities of a phenomenon. This book suggests a world in peril requires us to question this approach, particularly in the field of environmental sustainability. Environmental health affects everyone and requires integrated and interdisciplinary answers to complex issues. This requires bold action and a radical take on the world. Derived from the Latin radix or “root”, a radical spirit is one that searches for meaning and affirms community.” The community, in this case, is an environment that supports diverse life.
Objects of affection recovers the emotional attraction of the medieval book through an extended engagement with a single fifteenth-century literary collection known as Oxford, Bodleian Library Manuscript Ashmole 61. Exploring how the inhabitants of the book’s pages – human and non-human, tangible and intangible – collaborate with its readers then and now, this book addresses the manuscript’s material appeal in the ways it binds itself to different cultural, historical, and material environments. This new materialist manuscript study traces the affective literacy training that the book, produced by a single scribe, provided to a late medieval English household. Its diverse inhabitants are incorporated into the ecology of the book itself as it fashions spiritually generous and socially mindful household members – in the material world they generate and that guides their living, and in the social and spiritual desires that shape their influences in that world.
The book analyzes capitalism’s growing destructiveness and the cost–benefit contradiction it generates. Its new conception of the surplus, which recognizes not just capitalist businesses but also households and the public sector as sites of surplus production, links capitalism’s destructiveness to that system’s use of the surplus. Capital’s use of the surplus turns scientific knowledge and technique into forces of destruction, and the book illustrates this dynamic by making reference to the growth of a consumerist culture, to massive military spending, and to other technologies that fuel a deepening ecological crisis. This crisis, along with economic and public health crises as well as a crisis of political democracy, are also analyzed as being intimately linked to capitalism’s use of the surplus. It is capitalism’s undemocratic control of the surplus by capitalist elites, moreover, that ultimately leads to the cost–benefit contradiction of contemporary societies: the futility of our consumerist culture no longer translates productive development into correspondingly growing human well-being, while the simultaneous growth of capitalism’s forces of destruction increasingly endangers human beings and the planet. Thus, this contradiction creates the potential for an opposition to capitalism and its exploitative and destructive nature by a wide range of social movements, both “old” (such as the labor and socialist movements) and “new” (for example, the feminist, anti-racist, ecological, and peace movements). To address capitalism’s contradiction, a democratic classless society is required, but the book also analyzes how capitalism’s operation obstructs the formation of an anti-capitalist coalition fighting for such an alternative.
The avant garde is dead, or so the story goes for many leftists and capitalists alike. But so is postmodernism an outmoded paradigm in these times of neoliberal austerity, neocolonial militarism and ecological crisis. Rejecting ‘end of ideology’ post-politics, Vanguardia delves into the changing praxis of socially engaged art and theory in the age of the Capitalocene. Reflecting on the major events of the last decade, from anti-globalisation protest, Occupy Wall Street, the Maple Spring, Strike Debt and the Anthropocene, to the Black Lives Matter and MeToo campaigns, Vanguardia puts forward a radical leftist commitment to the revolutionary consciousness of avant-garde art and politics.