That being said - I don’t feel that embracing these ideas without action is enough for surviving mass extinction, as the author seems to suggest.

While there remains a subtle pop thread that weaves through the canvas on Waterflower’s new album, All Art Is Ecological, there is also a meditative spirit that underpins these recordings. When the ancient Greek pagans entered the colorful temples to pray, they were experiencing the space very differently from how American college students on their grand tour experience the ruins today. plants : ecosystems = revolutionaries : society Plants in the ecosystems, with their capacity to rebalance and regenerate it, are like the revolutionaries in society when they become oppressive, authoritarian and liberticidal.

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Instead of taking an academic stance, Morton's book reads more like a chain of chatty riffs on phenomenology, ecological attunement, and art's hypnotic power. Coincidentally, Morton lives near the Rothko Chapel in Houston and has watched people leave unmoved while others sit for hours soaking in the paintings. Here I will contrast the theoretical work of art historian Grant Kester, who stresses the creative role of listening in his concept of dialogical aesthetics, with the writings of media theorist John Durheim Peters. Except as permitted by the Copy- right Act, including section 107 (fair use), or other applicable law, no part of the contents of Antennae: The Journal of Na- ture in Visual Culture may be reproduced without the written permission of the author(s) and/or other rights holders. By questioning the notions of deep ecology, environmentalism, and nature writing, Morton proposes a myriad of authenticating devices for interpreting works of art gathered around a complex ideological network of beliefs of what is thought as the natural world.This notion is of particularly significance to the development of my argument, because it criticises the mere visual representation of the globe as sphere. It made me think though, so any book that does that has a certain currency, I would probably attempt to read some more of his work. As Heidegger scholar Hubert Dreyfus explained it: “The temple draws the people who act in its light to clarify, unify, and extend the reach of its style, but being a material thing, it resists rationalization. is always interesting--you (and your other contributors) have a fine eye for good writing in both the arts and the sciences, which is a very rare thing indeed.

The album highlights Waterflower's interest in ecology, originally through plant and mushroom music practices, inspired by Timothy Morton's essay that states that every artistic practice is ecological in a philosophical sense. I thought that I’d try one last attempt though and wow - such a clever interpretation and commentary on the philosophical side of the topic. In Morton’s terms that means thinking along the lines of agricultural religion—Judaism, Christianity, Hinduism, and so on, thinking characterized by hierarchal views, utilizing the unambiguous language of good and bad, us and them. Morton is urging us to revolutionize the way we see the world; for it is in this lack of understanding of interconnectedness that is leading to our ruin.Using plants and mushrooms as instruments, Waterflower creates a blend of experimental electronic music that speaks to the urgent need to protect and preserve our natural world. The _ga cookie, installed by Google Analytics, calculates visitor, session and campaign data and also keeps track of site usage for the site's analytics report. CAP builds a network of partners and relations to develop complex projects on vulnerable territories. The nice thing about “All Art…” is that is inexpensive and short, minimal commitment necessary and you can still feel so accomplished! ecological ambiguity, why art is a “transparent bag of eyes,” and the “beauty soup isn’t for eating,” and how that uncanny not-me quality might save us from mass extinction….

I also find that this book intensely meshes with Morton’s former roots in romanticism- dabbling in the appreciation of art , 1700s science, intense lust and the landscape, ‘stains of time’ . Morton tears apart the ideologies of modern environmentalism in the climate crisis, adamant on a wider lens of ecology and the meaning of ‘nature’- almost akin to Jane Bennett. Scott Newstok, Professor of English, Director of the Pearce Shakespeare Endowment, Rhodes College, and author of How to Think like Shakespeare: Lessons from a Renaissance Education. Although I did find this essay truly fascinating and thought provoking at parts- especially the information regarding the ‘Ice Watch’ exhibit, I do have to admit a lot of it went over my head. but regarding hyperobjects i think i agree with ursula heise — it’s good but it feels like an idea that’s almost too large to control?for liveliness, cosmopolitanism, range of scientific, philosophical, and literary curiosity in harvesting big and provocative ideas. Their concept of 'truthiness'-- the grainy, broken, inconsistent appearance of truth in reality and more intensely in art- is quite compelling. His argument goes something like this: By turning the issue into a definitive yes or no (verbally voting: I believe or I don’t believe), we lose the actual experience of being in the uncanny. However, a risk in much climate change art is reverting to the aesthetic of the sublime, which has a long-standing tradition but which I argue does nothing to meaningfully engage the public with climate change. Along with classics like Masanobu Fukuoka’s The Dragonfly Will Be the Messiah and Rachel Carson’s The Silent Spring; there is the work of many contemporary thinkers, such as Greta Thunberg’s No One is Too Small to Make a Difference, Amitav Ghosh’s Uncanny and Improbable Events, and George Monbiot’s This can’t be happening.