As the planet’s largest ecosystem, oceans stabilise climate, produce oxygen, store CO2 and host unfathomable biodiversity at a deep time-scale. In recent decades, scientific assessments have indicated that the oceans are seriously degraded to the detriment of most near-future societies. Human-induced impacts range from climate change, ocean acidification, loss of biodiversity, eutrophication and marine pollution to local degradation of marine and coastal environments. Such environmental violence takes form of both ‘spectacular’ events, like oil spills and ‘slow violence’, occurring gradually and (...) out of sight. The purpose of this paper is to show four cases of coastal and marine forms of slow violence and to provide counter-accounts of how to reinvent our consumer imaginary at such locations, as well as to develop what is here referred to as ‘low-trophic theory,’ a situated ethical stance that attends to entanglements of consumption, food, violence, environmental adaptability and more-than-human care from the co-existential perspective of multispecies ethics. We combine field-philosophical case studies with insights from marine science, environmental art and cultural practices in the Baltic and North Sea region and feminist posthumanities. The paper shows that the oceanic imaginary is not a unified place, but rather, a set of forces, which requires renewed ethical approaches, conceptual inventiveness and practical creativity. Based on the case studies and examples presented, the authors conclude that the consideration of more-than-human ethical perspectives, provided by environmental arts and humanities is crucial for both research on nature and space, and for the flourishing of local multispecies communities. This paper thus inaugurates thinking and practice along the proposed here ethical stance of low-trophic theory, developed it along the methodological lines of feminist environmental posthumanities. (shrink)

This article analyses the use of images in the discourse of animal ethics in an attempt to see how visual cultural studies can contribute to the debate in environmental philosophy. Drawing on Derrida's critique of the utilitarian theory of animal liberation and Mitchell's analysis of iconoclasm in visual culture theories, the article argues that an iconoclastic strategy of visual representation in the discourse of animal ethics undermines the very objective of such an ethical theory. Two case studies — Peter Singer's (...) animal liberation and J.B. Callicott's land ethic — illustrate an implacable tendency to essentialize the visual and animal identity. (shrink)

What is it to be seen (naked) by one's cat? In “L'animal que donc je suis” (2006), the first of several lectures that he presented at a conference on the “autobiographical animal,” Jacques Derrida tells of his discomfort when, emerging from his shower one day, he found himself being looked at by his cat. Th experience leads him, by way of reflections on the question of the animal, to what is arguably the question of his philosophy: Who am I? It (...) is not so much that Derrida wants to answer this question as to be free of it. His task here is to determine the sense of it— where it leads, for example, when it comes to the nature of the diff erence between himself and his cat. Unlike animal rights activists (and unlike philosophers Martha Nussbaum and Cora Diamond, who have recently addressed this issue), Derrida does not want to erase this difference but wants to multiply it in order (among other things) to affirm the absolute alterity or singularity of his cat, which cannot be subsumed by any category (such as the animal). His cat is an Other in a way that no human being (supposing there to be such a thing, which Derrida is not prepared to grant) could ever be. And here is where “the question who?” leads as well, namely, to a path of escape from absorption into any identity-machine. As Derrida puts it in A Taste for the Secret: Who am I when I am not one of you? In a hospitable world one would be free not to answer. (shrink)

The essay investigates the anthropological concept of personhood from the point of view of the dialectics between two fundamental elements of the socio-cultural, linguistic, and semiotic construction of the self-identity of the human species: on the one hand, the human face and, on the other, the non-human muzzle. After demonstrating that their semantics is contrastively articulated in all Indo-European languages, and after showing that such contrast is featured also in several non-Indo-European languages, including those referring to supposedly alternative “ontologies of (...) nature”, the essay criticizes such opposition through a close reading of Lévinas, Deleuze and Guattari, and Derrida’s philosophical texts on the face and on animality. Ultimately, it proposes that the construction of the animal muzzle as an interface of non-personhood is instrumental to the substitution of the human victim in the sacrifice that establishes the human community. Only through eradicating the primordial stigmatization of the muzzle, however, will a non-violent foundation of human personhood and community be possible. (shrink)

This article analyses the use of images in the discourse of animal ethics in an attempt to see how visual cultural studies can contribute to the debate in environmental philosophy. Drawing on Derrida's critique of the utilitarian theory of animal liberation and Mitchell's analysis of iconoclasm in visual culture theories, the article argues that an iconoclastic strategy of visual representation in the discourse of animal ethics undermines the very objective of such an ethical theory. Two case studies — Peter Singer's (...) animal liberation and J.B. Callicott's land ethic — illustrate an implacable tendency to essentialize the visual and animal identity. (shrink)