Search results

Abstract only
Assembling an ecocritical art history
Author: Andrew Patrizio

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.

Anarchism, social ecology and art
Andrew Patrizio

final chapter in Part II sketches the contours of a cultural politics of nonhierarchies, networks and flows using theoretical texts, more orthodox political ecology in the green spectrum and contemporary anarchist or radical art history. Anticipating some of the content in Part III and the Conclusion, I start to draw out how the discipline of art history might productively continue to adopt scholarly rich, egalitarian political positions, and inform a fully ‘green’ political ideology. In so doing, I pay attention to the resurgence of nonhierarchical political

in The ecological eye
Open Access (free)
Environmental justice and citizen science in a post-truth age
Editors: Thom Davies and Alice Mah

This book examines the relationship between environmental justice and citizen science, focusing on enduring issues and new challenges in a post-truth age. Debates over science, facts, and values have always been pivotal within environmental justice struggles. For decades, environmental justice activists have campaigned against the misuses of science, while at the same time engaging in community-led citizen science. However, post-truth politics has threatened science itself. This book makes the case for the importance of science, knowledge, and data that are produced by and for ordinary people living with environmental risks and hazards. The international, interdisciplinary contributions range from grassroots environmental justice struggles in American hog country and contaminated indigenous communities, to local environmental controversies in Spain and China, to questions about “knowledge justice,” citizenship, participation, and data in citizen science surrounding toxicity. The book features inspiring studies of community-based participatory environmental health and justice research; different ways of sensing, witnessing, and interpreting environmental injustice; political strategies for seeking environmental justice; and ways of expanding the concepts and forms of engagement of citizen science around the world. While the book will be of critical interest to specialists in social and environmental sciences, it will also be accessible to graduate and postgraduate audiences. More broadly, the book will appeal to members of the public interested in social justice issues, as well as community members who are thinking about participating in citizen science and activism. Toxic Truths includes distinguished contributing authors in the field of environmental justice, alongside cutting-edge research from emerging scholars and community activists.

Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Abstract only
Political, cultural, green
Andrew Patrizio

-perspective emerges. For example, Anthropocenic climate change provides a sense of an external threat that can be politicised – witness Jane Bennett’s definition of politics as ‘a political ecology and a notion of publics as human–non-human collections that are provoked into existence by a shared experience of harm’. 2 This speaks to the way that Braidotti senses that ‘micro-politics … reflects the complex and nomadic nature of contemporary social systems and of the subjects that inhabit them. If power is complex, scattered and productive, so must be our resistance to it.’ 3

in The ecological eye
Open Access (free)
Thom Davies

being uncritical of wider political structures, where a frictionless pathway is imagined between citizen science data and environmental justice: according to this fiction, the “right facts” will create the right political ecology. In this sense, citizen science not only emulates some of the practices of formal science, but also some of its ontological shortcomings. To put it another way, in order for citizen science to produce environmental justice, it “will require joining the epistemological with the political” (Strasser et al. 2019, 53). As Shapiro and Kirksey

in Toxic truths
Concepts and practice
Lucy Rose Wright and Ross Fraser Young

has been conducted. In its briefest summation, there is an established history of conflating politics with gardening through a political ecology lens (Hovorka, 2006; Jarosz, 2011; Schroeder, 1993; Walker, 2005). The literature focuses on the rights of marginalised women who take advantage of the social opportunities presented by UG. Recently, there has been a shift in discourse towards conflation of UG and spatial injustice. This shift has seen the development of the term ‘political gardening’ to describe gardening which is influenced by neoliberalisation and the

in Urban gardening and the struggle for social and spatial justice
Constructing environmental (in)justice
Anneleen Kenis

not search for the facts anymore. As Bruno Latour (2004, 231) famously argues in his response to the reproach that his theory of deconstructionism would have played in the hands of post-­truth ideologues: “The question was never to get away from facts but closer to them.”9 Notes 1 This largely invisible character of air pollution could explain why air, in contrast to more tangible socio-­ecological predicaments like food, water, or parks, remains a blind spot within the field of urban political ecology which typically deals with such issues (Véron 2006; Buzzelli

in Toxic truths
Open Access (free)
From idealism to pragmatism (1984–2002)
Bruno Villalba and Sylvie Vieillard-Coffre

elections. This coincides with the end of the construction of political ecology (1974–88). René Dumont obtained 1.4 per cent in the 1974 presidential election and the ecologists won 4.4 per cent (2.2 per cent across the whole of France) in the 1978 legislative elections. With 4.5 per cent at the European elections of 1979, two formations contested the 1984 Europeans and won 3.4 per cent (Greens) and 3.3 per cent (Entente Radicale Ecologiste pour les Etats-Unis d’Europe, led by Brice Lalonde), respectively. The 1986 regionals, despite being The Greens: from idealism to

in The French party system
Meg Holden

. Post- humanism paints our over-reliance on anthropocentric justifications and on human social, political and economic institutions as primarily responsible for environmental losses. That is, we are in crisis because our dreams are ignorant of humanity’s dependence on non-human nature. To make a difference, we need to displace these dreams with alternative holistic ecosystems-based thinking. In opposition to this stance is the stance, predominant in political ecology, that the most effective way to engage environmental politics is to make environmental concerns fit

in The power of pragmatism