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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.

Open Access (free)
Brad Evans

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

Journal of Humanitarian Affairs
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
The politics of value and valuation in South Africa’s urban waste sector
Henrik Ernstson, Mary Lawhon, Anesu Makina, Nate Millington, Kathleen Stokes, and Erik Swyngedouw

emphasise collaborative governance and community participation and awareness as means of improving waste management. Before we examine this triad, we provide a conceptual and theoretical entry into the problem. An urban political ecology of waste metabolism We mobilise theoretical and empirical insights from urban political ecology (UPE) (Heynen et al., 2006 ; Swyngedouw, 1996 ) while extending and reformulating this perspective through the inclusion of theoretical and empirical insights from the global south (Ernstson et al

in African cities and collaborative futures
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)
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.

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
Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

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
Art, process, archaeology

This book presents a study of material images and asks how an appreciation of the making and unfolding of images and art alters archaeological accounts of prehistoric and historic societies. With contributions focusing on case studies including prehistoric Britain, Scandinavia, Iberia, the Americas and Dynastic Egypt, and including contemporary reflections on material images, it makes a novel contribution to ongoing debates relating to archaeological art and images. The book offers a New Materialist analysis of archaeological imagery, with an emphasis on considering the material character of images and their making and unfolding. The book reassesses the predominantly representational paradigm of archaeological image analysis and argues for the importance of considering the ontology of images. It considers images as processes or events and introduces the verb ‘imaging’ to underline the point that images are conditions of possibility that draw together differing aspects of the world. The book is divided into three sections: ‘Emergent images’, which focuses on practices of making; ‘Images as process’, which examines the making and role of images in prehistoric societies; and ‘Unfolding images’, which focuses on how images change as they are made and circulated. The book features contributions from archaeologists, Egyptologists, anthropologists and artists. The contributors to the book highlight the multiple role of images in prehistoric and historic societies, demonstrating that archaeologists need to recognise the dynamic and changeable character of images.