‘wary of holism, but needy for connection’
Donna Haraway, A Cyborg Manifesto , 1985)
If Elizabeth Grosz is right in asserting that ‘art is not the antithesis of politics, but politics continued by other means’, 1 then it surely follows that art history must also be something of an oblique political strategy. The previous chapter has given us a firm orientation on ecology within the anarchist movement, exploring its potential to reimagine the discipline of art history. One of the fundamental positions of the ecological eye, however, is to
The ecology of poor relief
On 18 July 1821 the overseer of Kingswood parish (Gloucestershire)
received a letter from George Lewis of Bristol. Asking for ‘Some preasant relife’, Lewis claimed that he was sick and ‘allmost intirely from my
Worck’. He was
in a verrey Weacke State my self i have a verrrey Soare throat as i am
afraide as i am getting the Same Disorder as my family we am harekening
Every moment to be the Last of one Chyld the Lords best to put is end
to its Breath the biges bot was tacken ill Later day Last which i have five
that is very
Aesthetics as ecology, or the question of
the form of eco-art
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
Up or down with the ecology cycle?
Strategies for temporally rational
Political terms and ecological cycles
Next budget and next election; dominant time spans in politics
From the early nineteenth century onwards, the dominant political view of time was one of continuous ‘progress’ with the state
at the centre of change (Ekengren 1998:30). This linear conception of time is, however, just one possible view. Political time can
also be seen as (series of) distinct events or as connected points
, in my view, to the social ecology of Murray Bookchin, who we look at in Part II . For Plumwood, the ‘disavowal of nature is accomplished through the hegemonic construction of autonomy and agency. A centric or colonising system typically differentiates very strongly between a privileged, hegemonic group awarded full agency status who are placed at the centre and excluded peripheral groups who are denied agency and whose contribution is discounted, neglected, denied, or rendered invisible.’ 10 She implies a posthuman approach as a way to develop a democratic and
‘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.
Morton's vision of ‘nature’ as morbid, enmeshed modes of being has more in common, he tells us, ‘with the undead than with life’,
and his thinking might provide a new sense of the gothic as a genre full of dark environmental resonance.
T.K. Ralebitso-Senior, T.J.U. Thompson, and H.E. Carney
In the mid-1990s, the crime scene toolkit was revolutionised by the introduction of
DNA-based analyses such as the polymerase chain reaction, low copy number DNA analysis,
short-tandem repeat typing, pulse-field gel electrophoresis and variable number tandem
repeat. Since then, methodological advances in other disciplines, especially molecular
microbial ecology, can now be adapted for cutting-edge applications in forensic contexts.
Despite several studies and discussions, there is, however, currently very little evidence
of these techniques adoption at the contemporary crime scene. Consequently, this article
discusses some of the popular omics and their current and potential exploitations in the
forensic ecogenomics of body decomposition in a crime scene. Thus, together with published
supportive findings and discourse, knowledge gaps are identified. These then justify the
need for more comprehensive, directed, concerted and global research towards
state-of-the-art microecophysiology method application and/or adaptation for subsequent
successful exploitations in this additional context of microbial forensics.
This paper considers the impact of extra-filmic elements on the cultural
decision-making behaviours of a small rural Australian cinema audience, focusing on
the rural New South Wales village of Cobargo in the late 1920s. In considering how
why such fragile rural picture show operations either failed or became successful, it
is critical to take account of rural geographies, particularly in terms of early road
development, and the nature and state of road bridges in flood-prone areas. The paper
argues that these elements are part of a broad ecosystemic framework for cultural
decision-making which can assist in our interpretation of early newspaper advertising
and promotion for picture show programs.
The Powers of Were-Goats in Tommaso Landolfi‘s La pietra lunare (The Moonstone)
Jewell links the were-animals in Tommaso Landolfis novel La pietra lunare to population ecology in the 1930s. Landolfi imagines and narrates a were-population explosion in the specific historical context of the changes fascism brought to rural life when it favored a grain-based economy. When state policy attempts to manage grazing populations and the culture of transhumance, the uncontrolled growth of fast-breeding, broad-ranging, mountain-going were-goats in the novel puts the validity of fascist agricultural policy into question. When in secret at the full moon they couple monstrously and multiply, were-animals thoroughly challenge the effectiveness of discourses of controlled population management.
Technologies of Surveillance, Knowledge and Power in Paramount Budget
William Thomas McClain
Film production at Paramount Pictures during the so-called classical era required the
mobilisation of massive material and human capital that depended on institutional
systems of surveillance, knowledge creation and control ranging from departmental
affiliations to the pre-printed budget forms. This article focuses on those
pre-printed budget forms as technologies of knowledge and power, revealing that the
necessities of creating and managing coalitions of expert labourers created
alternative power centres and spaces where being the object of surveillance was
itself a source of power. It concludes by discussing the implications of this ecology
for the historiography of Hollywood.