Intermedial Ecocriticism: The Anthropocene Ecological Crisis across Media and the Arts

Since the late 20th century, performance has played a vital role in environmental activism, and the practice is often related to concepts of eco-art, eco-feminist art, land art, theatricality, and “performing landscapes.” With the advent of the Capitalocene discourse in the 21st century, performance has been useful for acknowledging indigenous forms of cultural knowledge and for focusing on the need to reintegrate nature and culture in addressing ecological crisis. The Capitalocene was distinguished from the Anthropocene by Donna Haraway who questions the figuration of the Anthropos as reflexive of a fossil-fuel-burning ethos that does not represent the whole of industrial humanity in the circuit of global capital. Jason W. Moore’s analysis for the Capitalocene illustrates the division between nature and society that is affirmed by the tenets of the Anthropocene. Scientists Paul Crutzen and Eugene Stoermer had dated the Anthropocene age to the industrial acceleration of the late-18th/mid-19th century but Moore points to the rise of capitalism in the 15th century when European colonization reduced indigenous peoples to naturales in their modernist definition of nature that became distinct from the new society. As material property, women were also precluded from this segment of industrial humanity. By the 20th century, the Euro-American system for progressive modernism in the arts was supported by the inscription of cultures that represented un-modern “primitivist” nature. The tribal and the modern became a postcolonial debate in art historical discourse. In the context of the Capitalocene, a different historiography of eco-art, eco-feminist art, and environmental performances can be conceived by acknowledging the work of artists such as Ana Mendieta and Kara Walker who have illustrated the segregation of people according to the nature/society divide. Informed by Judith Butler’s phenomenological analyses of performative acts, the aesthetic use of bodily-oriented expression (with its effects on the viewer’s body) provides a vocabulary for artists engaging in the subjects of the Capitalocene. In the development of performances in the global context, artists such as Wu Mali, Yin Xiuzhen, and Ursula Biemann have emphasized the relationship between bodies of humans and bodies of water through interactive works for the public, sited at the rivers and the shores of streams. They show how humans are not separate from nature, a concept that has long been conveyed by indigenous rituals that run deep in many cultures. While artists have been effective in acknowledging the continuing exploitations of the environment, their performances have also reflected the “self” of nature that humans are in the act of destroying.

Download Full-text

The Arts, Environmental Justice, and the Ecological Crisis

British Art Studies ◽

10.17658/issn.2058-5462/issue-18/conversation ◽

2020 ◽

Keyword(s):

Environmental Justice ◽

Ecological Crisis ◽

The Arts

Download Full-text

The Arts of Coexistence: A View From Anthropology

Frontiers in Conservation Science ◽

10.3389/fcosc.2021.711019 ◽

2021 ◽

Vol 2 ◽

Author(s):

Sara Asu Schroer

Keyword(s):

Human Dimensions ◽

Cultural Relativism ◽

Ecological Crisis ◽

Social Dimensions ◽

Conservation Science ◽

The Arts ◽

Current Thinking ◽

Disciplinary Field ◽

Science Community ◽

Alternative Approaches

In this perspectives essay, I propose some ways in which current thinking in anthropology might inform the emergent cross-disciplinary field of coexistence studies. I do so following recent calls from within the conservation science community (including this special issue), acknowledging that understanding human-wildlife coexistence in the fractured landscapes of the Anthropocene1 requires being open to alternative approaches beyond conventional frameworks of conservation science and management (see for instance; Carter and Linnell, 2016; Pooley, 2016; Chapron and López-Bao, 2019; Pooley et al., 2020). The essay suggests that relational (non-dualist) ways of thinking2 in anthropology, often building on Indigenous philosophy and expertise, may help ground coexistence studies beyond Euro-Western modernist conceptual frameworks—frameworks that perpetuate exploitative and colonial logics that many scholars from across academia view as being at the heart of our current ecological crisis (e.g., Lestel, 2013; van Dooren, 2014; Tsing, 2015; Todd, 2016; Bluwstein et al., 2021; Schroer et al., 2021). By proposing “relations” rather than objectified “Nature” or “wildlife” as the more adequate subject of understanding and facilitating coexistence in shared landscapes, I understand coexistence and its study first and foremost as an ethical and political endeavor. Rather than offering any conclusive ideas, the essay's intention is to contribute some questions and thoughts to the developing conversations of coexistence studies scholars and practitioners. It does so by inviting conservation scientists to collaborate with anthropologists and take on board some of the current thinking in the discipline. Amongst other things, I suggest that this will help overcome a somewhat dated notion of cultural relativism—understood as many particular, cultural views on one true objective Nature (only known by Science), a perspective that explicitly and implicitly seems to inform some conservation science approaches to issues of culture or the “human dimensions” of conservation issues. Ultimately, the paper seeks to make a conceptual contribution by imagining coexistence as a dynamic bundle of relations in which the biological, ecological, historical, cultural, and social dimensions cannot be thought apart and have to be studied together.

Download Full-text

Electron Microscopy in Molecular Biology

Proceedings, annual meeting, Electron Microscopy Society of America ◽

10.1017/s0424820100060027 ◽

1967 ◽

Vol 25 ◽

pp. 2-3

Author(s):

Cecil E. Hall

Keyword(s):

Electron Microscopy ◽

Molecular Biology ◽

Noise Level ◽

Molecular Structures ◽

Material Structure ◽

The Arts ◽

Shadow Casting ◽

Electron Image ◽

High Degree ◽

Very High

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.

Download Full-text