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Clive Cazeaux

9 Aesthetics as ecology, or the question of the form of eco-art Clive Cazeaux Although the origins of ecological art or eco-art (I shall use the latter name from here on) are relatively easy to identify, the full meaning and scope of the name are not so easy to determine. The emergence of eco-art as a visual art form is arguably the result of a number of interrelated factors in the 1960s: American and United Kingdom countercultures, including disillusionment with government and material wealth; conceptual art’s reaction against traditional aesthetic values

in Extending ecocriticism
Naomi Booth

‘Dark ecology’ is the term recently coined by critic Timothy Morton to describe our profoundly interconnected coexistence in a world poised on the brink of environmental catastrophe. 1 Morton's vision of ‘nature’ as morbid, enmeshed modes of being has more in common, he tells us, ‘with the undead than with life’, 2 and his thinking might provide a new sense of the gothic as a genre full of dark environmental resonance. In

in Swoon
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William Welstead

side of systems-based ecology with its emphasis on associations of species that are adapted to the conditions of soil and climate. Ecology of a single species is covered in the branch of ecology known as ‘population ecology’. Where systems ecology is largely descriptive, population ecology is quantitative, and can be used to develop predictive models. Examples of population ecology of sheep are discussed in this book. Ecology is, however, a rich discipline with many alternative approaches. For sheep, this will include the community ecology of the microbiota that

in Writing on sheep
Ecologies of writing and collaboration
Philip Gross

3 Halfway-to-whole things: ecologies of writing and collaboration Philip Gross Driving over the Second Severn Crossing, some ten years ago, did something to my writing life. (With a shameless abuse of the term, you might call it a watershed.) What nudged that change was not so much the coming to Wales – first to take up a job, then to live – as the compelling presence of the Severn estuary itself. With its massive tidal range, the emergence and melting away of vast tracts of mud flats and stone grounds, the waterscape altering with every change of weather, wind

in Extending ecocriticism
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Posthuman sound ecologies in the neo-avant-garde
Jesper Olsson

and sound poetry as ‘posthuman sound ecologies’, it is possible to pose important questions about the human and non-human that have a specific resonance in the early twenty-first century, when the interweaving of humans and technical media has become ubiquitous. This requires taking into account an expanded and denaturalised conception of ecology (Morton, 2007 ; Hörl, 2017 ): ecologies involve nature as well as artifice and technologies. The composition of such sound ecologies was far from rare during the postwar decades. Here I will focus on works by three

in Tuning in to the neo-avant-garde
Hawai‘i One Summer (1987/1998)
Helena Grice

a resident, and articulate the importance of a matrix of place, community, ‘belonging’ and the ‘local’, both in Hawai‘i and as represented, here and elsewhere, in Kingston’s writing. Hawai‘i One Summer also bears testimony to another dimension of Kingston’s work which has hitherto gone unrecognised. As an extensive meditation upon place and environment in Hawai‘i, the pieces here together represent Kingston’s imbrication in a politics of ecology, and specifically a form of ecological feminism as well. Thus, I argue in this chapter that Hawai‘i One Summer

in Maxine Hong Kingston
An ecocritical reading
William Welstead

13 On-site natural heritage interpretation: an ecocritical reading William Welstead Visitors to the countryside are increasingly faced with a variety of panels, interpretation centres and other interventions that convey selected narratives and ways of seeing our natural heritage. This chapter explores the scope for these cultural objects to be included in ecocritical enquiry. The ubiquity and undemanding nature of many displays makes for an accessible source of information about basic ecology as filtered through the viewpoint of site managers for national and

in Extending ecocriticism
The paradoxes of sustainability and Michel Houellebecq’s The Possibility of an Island
Hannes Bergthaller

for individual health, spiritual wellbeing and a ‘more natural lifestyle’ (Emerich 2011: 137). Looking at LOHAS advertising and trade magazines, one begins to suspect that the true office of sustainability may have been to make deep ecology safe for consumer capitalism. While these two versions of sustainability are in many ways quite distinct, both indicate just how deeply the concept has become ingrained in the political, economic and social status quo. They highlight how talk of sustainability has become a way of expressing our desire to change things so as to

in Literature and sustainability
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Science and art in Antarctica
Mike Pearson

seal placenta to penguin poop. In their strangeness, they are unexpected, uncanny, beyond one’s anticipated avian checklist. And they go about their specialised everyday life and, as with all other Antarctic fauna, ambivalent towards and indifferent to our attempts to encapsulate their world for our own aesthetic Treaty obligations 219 consumption. Beyond the ambiguities of Treaty Article XIII, it is they who truly own Antarctica. Ecology We now cherish Antarctic fauna, but that was not always the case. In the early nineteenth century, seal and whale

in Extending ecocriticism
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John Kinsella

– we were there, all of us. I know the mantra, so do you, and so does SPM. Concern is part of it, being active and out there and speaking our breath is essential. Self is nature, too. We owe it. We owe culture. We need to listen and touch and see and sense and make poems as we can, any way we can. And wet is water and it has a structure and ecology, and makes . This is city speaking. This is city more than buildings. This is city community people nature and buildings. This is Perth, this poem book. This making. This respect

in Beyond Ambiguity