European political theorists have argued that contemporary imaginaries of climate change are symptomatic of a post-political condition. My aim in this essay is to consider what this analysis might mean for a feminist green politics and how those who believe in such a project might respond. Whereas much of the gender-focused scholarship on climate change is concerned with questions of differentiated vulnerabilities and gendered divisions of responsibility and risk, I want to interrogate the strategic, epistemological, and normative implications for ecological (...) feminism of a dominant, neoliberal climate change narrative that arguably has no political subject, casts Nature as a threat to be endured, and that replaces democratic public debate with expert administration and individual behavior change. What hope is there for counter-hegemonic political theories and social movements in times like these? I suggest that rather than give in and get on the crowded climate change bandwagon, an alternative response is to pursue a project of feminist ecological citizenship that blends resistance to hegemonic neoliberal discourses with a specifically feminist commitment to reclaiming democratic debate about social-environmental futures. (shrink)

Arguably, two of the most important forces affecting contemporary global culture are the growing awareness of ecological crises and the rapid spread of digital media. Félix Guattari's unfinished concept of ecosophy suggests the basis of a theoretical framework for constructing productive syntheses between the ecological and the digital. Moreover, a Guattarian rethinking of the ecological turn in the humanities challenges the philosophical basis of the pedagogy of Nature appreciation that has characterised the eco-humanities landscape since the 1970s. Guattari's ecosophy gestures (...) towards a transversal eco-humanities, which would be rhizomatically rooted in autopoiesis and becoming-other, rather than defined by static allegiance to the ideals of ‘Self-realisation’ postulated by the deep ecology movement. (shrink)

Abstract This article explores how religion and science, as worlding practices, are changed by the processes of globalization and global climate change. In the face of these processes, two primary methods of meaning making are emerging: the logic of globalization and planetary assemblages. The former operates out of the same logic as extant axial age religions, the Enlightenment, and Modernity. It is caught up in the process of universalizing meanings, objective truth, and a single reality. The latter suggests that the (...) processes of globalization and climate change break open any universalizing attempt at meaning onto a proliferation of different, evolving planetary contexts. Both science and religion are affected by these changes, and the ways in which they shape our understandings of and relationship to the rest of the natural world are changed. (shrink)

Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is 'embodied' and depends on the aforementioned concepts' interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory and practice and juxtaposes (...) it with scientific research on embodied experience. It further suggests that Asian aesthetics, with its long history in conceiving relations and art as interactive, could create a bridge between recent scientific insights and design practice. The article outlines an approach to the interconnectedness of minds, bodies, environments, the sciences and cultures, in favour of a future that is governed by creative wisdom rather than 'smart' efficiency. (shrink)

Nobel-price winning atmospheric chemist Paul Crutzen introduced in 2000 the concept of the Anthropocene as the name for the successor geological period to the Holocene. The Holocene started about 12,000 years ago and is characterized by the relatively stable and temperate climatic and environmental conditions that were conducive to the development of human societies. Until recently, human development had relatively little impact on the dynamics of geological time. Although disagreement exists over the exact birth date of the Anthropocene, it is (...) indisputable that the impact of human activity on the geo-climatic environment became more pronounced from the industrial revolution onwards, leading to a situation in which humans are now widely considered to have an eco-geologically critical impact on the earth's bio-physical system. The most obvious example is the accumulation of greenhouse gases like CO2and Methane (CH4) in the atmosphere and the changes this induces in climatic dynamics. Others are the growing homogenization of biodiversity as a result of human-induced species migration, mass extinction and bio-diversity loss, the manufacturing of new (sub-)species through genetic modification, or the geodetic consequences resulting from, for example, large dam construction, mining and changing sea-levels. (shrink)

Environmental ethics is the discipline in philosophy that studies the moral relationship of human beings to, and also the value and moral status of, the environment and its nonhuman contents. This entry covers: (1) the challenge of environmental ethics to the anthropocentrism (i.e., humancenteredness) embedded in traditional western ethical thinking; (2) the early development of the discipline in the 1960s and 1970s; (3) the connection of deep ecology, feminist environmental ethics, and social ecology to politics; (4) the attempt to apply (...) traditional ethical theories, including consequentialism, deontology, and virtue ethics, to support contemporary environmental concerns; and (5) the focus of environmental literature on wilderness, and possible future developments of the discipline. (shrink)

This paper provides a philosophically informed survey of transhumanism and ‘posthumanism(s)’ on education. It has two primary aims: (1) bringing clarity to the widespread confusion surrounding even the most basic theoretical contents and terminology of transhumanism (TH) and ‘critical posthumanism’ (CPH), the two dominant forms of posthumanism in academic and popular discourse, and (2) descriptively surveying the discourses of TH and CPH on education. The first section contains description of TH’s and CPH’s basic theoretical contents, brief histories of TH and (...) CPH, and a proposal for sorely needed standard terminology. The second section surveys the TH and CPH literature on education, emphasizing the way education typically is technologized by THs and politicized by CPHs. The conclusion considers possibilities for alternative forms of ‘posthumanism.’. (shrink)

Theoretical applications of time and temporality remain a key consideration for both climate scientists and the humanities. By way of extending this importance, we critically examine Timothy Morton’s proposed “ecological awareness” alongside Slavoj Žižek’s “parallax view”. In doing so, the article introduces a “past-present parallax” in order to contest that, while conceptions of the past are marked by “lack”, equally, our conceptions of and relations to Nature remain grounded in an ontological incompleteness, marked by contingency. This novel approach presents an (...) ecological awareness that remains temporally attuned to the impasses and inconsistencies which frame our relations in/with Nature. (shrink)

Modernism has provided a strong case for technoprogressivism, innovation and speculation on future possibilities. However, drastic and often devastating consequences have followed modernism such as global warming and mass biodiversity loss. In Leonardo Caffo and Azzurra Muzzonigro’s new book, a case for posthumanism as a means for envisioning and rethinking futures studies is argued and practical means by which those futures can be realized are outlined.

Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails to (...) be foundational and how we need to rethink the posthumanist mythological framework. We then introduce Haldane’s Daedalus figure as a fruitful analogy to understand the demiurgic posture that critics mean to unveil by first using Prometheus. Daedalus embodies the artisan role, whose status as an inventor for the mighty preserves from the gods' direct opprobrium. Thereafter, we introduce the Camusian Myth of Sisyphus as a competing analogy that ultimately serves as a myth better suited to address the posthumanist position on an existential standpoint. we ultimately show that Sisyphus, as the ‘absurd man’ that Camus claims him to be, is himself the posthuman, thus serving as a more ideal foundational myth for posthumanism and preserving the importance of narrative in posthuman discourses. To conclude, we specifically show that the concept of Sisyphus as a posthuman icon has significance that reaches beyond narrative value to current ecological debates in posthumanism. (shrink)

A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.

The paper attempts to trace the relevance of the work of Slavoj Žižek in the field of practical opera composition, taking as example the Greek contemporary opera Anthony’s Death, which dramatizes a multitude of Žižekian topics and concludes with a sung Žižek text. The paper argues that the tension between the dimensions of Meaning and Voice is constitutive of the genre of opera itself, and exhibits the strategies used by Anthony’s Death to thematize this disjunction. The work’s structure is then (...) examined as an attempt to artistically render several Žižekian topoi and from the point of view of the different uses it subjects Žižek’s text to. The vicissitudes of thought submitted to musical treatment are considered next, and it is argued that a “fall” from Meaning into Sound is inevitable when abstract thought is sung. Finally, the importance of Žižek’s work for contemporary opera is located on the level of operatic form, for which it is asserted that it has the ability to act as a potentially vivifying catalyst. (shrink)

Thinkers like Slavoj Žižek and Tim Morton have heralded the end of our ideological constructions of nature, warning that popular “ecology” or the “natural” is just the latest opiate of the masses. Attempting to think what I call Nature after Nature, I turn to the Kamakura period Zen master Dōgen Eihei (1200–1253) to explore the possibilities of thinking Nature in its non-ideological self-presentation or what Dōgen called “mountains and rivers (sansui).” I bring Dōgen into dialogue with his great champion, the (...) American poet Gary Snyder (who understands the process of sansui as “the wild”), as well as with thinkers as diverse as Schelling, Kundera, Žižek, Agamben, and Muir. Beyond Nature being any one thing, what Badiou derides as the “cosmological one,” I argue for the reawakening and sobering up to multiple Nature, beyond its appearance as an object to a discerning subject, as the bioregions which give us our interdependent and dynamic being. (shrink)

The philosophy of biomimicry, I argue, consists of four main areas of inquiry. The first, which has already been explored by Freya Mathews, concerns the “deep” question of what Nature ultimately is. The second, third, and fourth areas correspond to the three basic principles of biomimicry as laid out by Janine Benyus. “Nature as model” is the poetic principle of biomimicry, for it tells us how it is that things are to be “brought forth”. “Nature as measure” is the ethical (...) principle of biomimicry, for it tells us that Nature places ethical limits or standards on what it is possible for us to accomplish. And “Nature as mentor” is the epistemological principle of biomimicry, for it affirms that Nature is the ultimate source of truth, wisdom, and freedom from error. Within this overall framework, I argue that seeing Nature as physis—understood as “self-production” or “self-placing-into-the-open”—constitutes the requisite ground for the poetic, ethical, and epistemological principles of biomimicry, and that biomimicry thus conceived involves a new philosophical paradigm, which I call “enlightened naturalism”. (shrink)

There has been much work on ontological dependence in recent literature. However, relatively little of it has been dedicated to the ways in which individual physical objects may depend on other distinct, non-overlapping objects. This paper gives several examples of such object-dependence and distinguishes between different types of it. The paper also introduces and refines the notion of an n-tet. N-tets (typically) occur when there are object-dependence relations between n objects. I claim that the identity (or, rather, what I call (...) the n-dentity) conditions for n-tets are not grounded in the individual identity conditions of each of the n objects, but instead are metaphysically basic. The paper then briefly discusses some ramifications of accepting object-dependence (and n-tets) on the philosophy of biology, ethics, and logic. (shrink)

Drawing on reflections from a collaborative autoethnography, this article argues that ultramarathon running is defied by a 'dark' ecological sensibility (Morton 2007, 2010, 2016), characterised by moments of pain, disgust, and the macabre. In contrast to existing accounts, we problematise the notion that runners 'use' nature for escape and/or competition, while questioning the aesthetic-causal relationships often evinced within these accounts. With specific reference to the discursive, embodied, spatial and temporal aspects of the sport, we explore the way in which participants (...) begin to appreciate the immense power of nature, while being humbled by the fragile and unstable foundations of human experience. Accordingly this article contributes novel insights into the human-nature complex that seek to move beyond Romantic analyses towards a more sophisticated understanding of the relationships between (nature) sport, people and place. (shrink)

The biosphere represents the global sum of all ecosystems. According to a prominent view in environmental ethics, ecocentrism, these ecosystems matter for their own sake, and not only because they contribute to human ends. As such, some ecocentrists are critical of the modern industrial civilization, and a few even argue that an irreversible collapse of the modern industrial civilization would be a good thing. However, taking a longer view and considering the eventual destruction of the biosphere by astronomical processes, we (...) argue that humans, a species with considerable technological know-how and industrial capacity could intervene to extend the lifespan of Earth’s biosphere, perhaps by several billion years. We argue that human civilization, despite its flaws and harmful impacts on many ecosystems, is the biosphere’s best hope of avoiding premature destruction. We argue that proponents of ecocentrism, even those who wholly disregard anthropocentric values, have a strong moral reason preserve the modern industrial civilization, for as long as needed to ensure biosphere survival. (shrink)

This is the first of two special issues and the articles are grouped according to two themes: This first issue will feature articles that share a theme we call Technologies and the Political, while the second issue will feature the theme Subjectivities. However, we could equally consider them exercises in provincialization in the (counter)factual register in the first issue, and by affective historiography as conceptual-empirical labor(atory) in the second issue. What we have generally asked of all authors is to consider (...) that the relation between science and society is often heavily influenced by and identified in the intermediary figurations portrayed in the genre of science fiction. (shrink)

The fiction of R. A. Lafferty is at once deeply ecological and deeply strange. Its incessant narrative inclusion of the nonhuman beings, places, and forces of Lafferty’s Oklahoman and otherwise western bioregion evinces an imagination profoundly porous to the local specificities and abundance of one’s more-than-human context. In this way it is deeply ecological. Lafferty’s fiction is also known as one of the most uniquely off-kilter, wildly imaginative, and arcanely erudite bodies of work in U.S. literature. In this way it (...) is deeply strange. While it is often acknowledged that Lafferty transcends the genre of science fiction and that his work is sui generis, little has been done to place him as either a U.S. author generally or an author of regional place more specifically. This thesis attempts to initiate the placement of Lafferty as a bioregional writer of the Great Plains and Southwest, whilst placing equal emphasis on Lafferty’s literary mode as not so much science-fictional as weird, or monstrous. The fusion of these concerns leads this thesis to declare Lafferty a purveyor of American Weird Bioregionalism. Toward this end, we herein assemble insights from regional western U.S. narrative traditions together with recent ecocritical and ecophilosophical discourses to reconfigure contemporary Monsters Studies toward a more-than-human construal of monsters and the monstrous that reads Lafferty’s weird bioregional fiction through the lens of what this thesis terms an Ecomonstrous Poetics. A chapter devoted to an ecomonstrous reading of Cormac McCarthy’s southwestern novel Blood Meridian provides a canonical comparison to Lafferty with surprising overlap. A final chapter on Lafferty’s implicit ecotheology rounds out the thesis and opens it up to further research. (shrink)

ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is seen as (...) an experiential phenomenon that consists of layers, some recent, others archaic. As such, musical meaning is strongly characterized by asubjectivity. It is in-between, in a state where the division of subject and object is not yet valid or valid anymore. A naturalistic interplay of experiential layers in music brings about a non-reified dynamics driving for expressions, interpretations, engenderings of subjects and objects or even for political action. Generally speaking, the in-betweenness of musical meaning can never be universally reified or symbolic nor can it ever be “subjective,” “mine” or present “at the origin.”In this view, ineffability has two primary reasons. First, the criteria offered for defining musical meaning are often too strict, resulting in untenable pretensions of universality. Second, the processual and relational nature of the in-between keeps meaning in flux; any snapshot creates a new situation and new meanings. (shrink)

Sensation is a concept with a conflicted philosophical history. It has found as many allies as enemies in nearly every camp from empiricism to poststructuralism. Polyvalent, with an uncertain referent, and often overshadowed by intuition, perception, or cognition, sensation invites as much metaphysical speculation as it does dismissive criticism. -/- The promise of sensation has certainly not been lost on the phenomenologists who have sought to ‘rehabilitate’ the concept. In Plastic Bodies, Tom Sparrow argues that the phenomenologists have not gone (...) far enough, however. Alongside close readings of Merleau-Ponty and Levinas, he digs into an array of ancient, modern, and contemporary texts in search of the resources needed to rebuild the concept of sensation after phenomenology. He begins to assemble a speculative aesthetics that is at once a realist theory of sensation and a philosophy of embodiment that breaks the form of the ‘lived’ body. Maintaining that the body is fundamentally plastic and that corporeal identity is constituted by a conspiracy of sensations, he pursues the question of how the body fits into/fails to fit into its aesthetic environment and what must be done to increase the body’s power to act and exist. (shrink)

This article examines the significance of Jacques Rancière’s work on pedagogy, and argues that to make sense of Rancière’s ‘lesson on the lesson’ one must do more but also less than merely explicate Rancière’s texts. It steadfastly refuses to draw out the lessons of Rancière’s writings in the manner of a series of morals, precepts or rules. Rather, it is committed to thinking through the ‘lessons’ of Rancière in another sense. Above all, Rancière wants to ‘teach’ his readers something absolutely (...) crucial about teaching. In making this claim the article emphasizes the extent to which Rancière advocates an utterly radical pedagogy, one that completely reconceives all the central elements of ‘schooling’, including teacher, student, intelligence and knowledge. Rancière thinks it possible to teach without knowing; he believes that the best schoolmasters can operate not on the assumption of their expertise, but on the equality of intelligence; and this means ultimately that Rancière contends that we can ‘teach what we do not know’. The best schoolmasters are ignorant schoolmasters. Rancière’s radical pedagogy depends upon, just as it consistently advances, a thoroughgoing resistance to a certain form of epistemological and ontological mastery. The rejection of mastery—of schoolmasters who would know it all, and convey this knowing to their students—forms the very backbone of all of Rancière’s writings and critical investigations. This is the chief reason why Rancière is, in a way, always talking about pedagogy, even when his subject matter appears to be something else entirely. (shrink)

This thesis explores how the novels of Virginia Woolf and Jean Rhys – To the Lighthouse, Between the Acts, After Leaving Mr Mackenzie and Wide Sargasso Sea – despite being set in times of wars and social change that influence personal lives, maintain an attachment to and love for life. This thesis proposes that Woolf and Rhys ‘locate’ this attachment to life in the moments and atmospheres of ‘strange intimacy’ – in sensual, affective, and oddly intimate moments and settings where (...) characters realise their bodily connection to the world of others, things, and places. This work suggests that this love for life is cultivated when life is seen as ‘a life’ and selves as ‘haecceities’ in the Deleuzian sense, and when we consider modern life as enchanted, not disenchanted. To examine the love for life and strange intimacies further, this thesis rethinks the works of Hélène Cixous in the light of contemporary theories of affect and new materialism that are inspired by Gilles Deleuze and Félix Guattari’s philosophies. This theoretical framework allows the examination of the complex ways in which intimacy, selfhood, and desire are portrayed in Woolf’s and Rhys’s modernist fiction. This thesis also demonstrates how post-structural feminism’s focus on radical alterity and its emphasis on and turn to materiality, the non-human, bodies, and affects, which are drawn together in the notion of écriture féminine, pre-figures the concerns of affect studies and new materialisms. The reading of Cixous’s, Deleuze and Guattari’s, and Bennett’s works performed in this thesis demonstrates how their theories of affect and the non-human help us to further our understanding of intimacy in the works of Woolf and Rhys and to reconsider the life-affirming, affective, and anti-Oedipal qualities of their modernism. Such an approach allows not only the discovery of a new understanding of Woolf’s and Rhys’s writings, but it contributes significantly to how we understand these theories and modernism in general. (shrink)

Climate change is increasingly characterized as a security issue. Yet we see nothing approaching consensus about the nature of the climate change-security relationship. Indeed existing depictions in policy statements and academic debate illustrate radically different conceptions of the nature of the threat posed, to whom and what constitute appropriate policy responses. These different climate security discourses encourage practices as varied as national adaptation and globally oriented mitigation action. Given the increasing prominence of climate security representations and the different implications of (...) these discourses, it is important to consider whether we can identify progressive discourses of climate security: approaches to this relationship underpinned by defensible ethical assumptions and encouraging effective responses to climate change. Here I make a case for an ecological security discourse. Such a discourse orients towards ecosystem resilience and the rights and needs of the most vulnerable across space, time, and species. This paper points to the limits of existing accounts of climate security before outlining the contours of an 'ecological security discourse' regarding climate change. It concludes by reflecting on the challenges and opportunities for such discourse in genuinely informing how political communities approach the climate change-security relationship. (shrink)

John Kinsella’s twentieth volume of poetry is laden with a poetics of attention to time, water and heat. Climate inheres in simplified topographical sketches, surveys and encounters with animals; water is ambiguous: a solid presence that is also fluid, subject to evaporation and often modelled as multi-dimensional motion; universalised western seasons are used rhetorically and symbolically to bring into relief little seasons within seasons, the more spatially and temporally localised markers of change. All these speak directly to the function of (...) the image and terrestrial matter,and how poetry is alert to such conditions. Kinsella has conceived of this as a “clash between linguistic anomaly and environmental exactness.”. (shrink)

This article draws upon the work of Timothy Morton and Slavoj Žižek in order to critically examine how mountain bike trail builders orientated themselves within nature relations. Beginning with a discussion of the key ontological differences between Morton’s object-oriented ontology and Žižek’s blend of Hegelian-Lacanianism, we explore how Morton’s dark ecology and Žižek’s account of the radical contingency of nature, can offer parallel paths to achieving an ecological awareness that neither idealises nor mythologises nature, but instead, acknowledges its strange and (...) contingent form. Empirically, we support this theoretical approach in interviews with twenty mountain bike trail builders. These interviews depicted an approach to trail building that was ambivalently formed in/with the contingency of nature. In doing so, the trail builders acted with a sense of temporal awareness that accepted the radical openness of nature, presenting a ‘symbolic framework’ that was amiable to nature’s ambivalent, strange and contingent form. In conclusion, we argue that we should not lose sight of the ambivalences and strange surprises that emanate from our collective and unpredictable attempts to symbolize nature and that such knowledge can coincide with Morton’s ‘dark ecology’ – an ecological awareness that remains radically open to our ecological existence. (shrink)

In the aftermath of a normalized Foucaultian world with an all encompassing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which (...) are chronicled and labeled by Michel Foucault as the normalizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normalizing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characterization to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimbleness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. (shrink)

To be intrinsically valuable means to be valuable for its own sake. Moral philosophy is often ethically anthropocentric, meaning that it locates intrinsic value within humans. This paper rejects ethical anthropocentrism and asks, in what ways might nonhumans be intrinsically valuable? The paper answers this question with a wide-ranging survey of theories of nonhuman intrinsic value. The survey includes both moral subjects and moral objects, and both natural and artificial nonhumans. Literatures from environmental ethics, philosophy of technology, philosophy of art, (...) moral psychology, and related fields are reviewed, and gaps in these literatures are identified. Although the gaps are significant and much work remains to be done, the survey nonetheless demonstrates that those who reject ethical anthropocentrism have considerable resources available to develop their moral views. Given the many very high-stakes issues involving both natural and artificial nonhumans, and the sensitivity of these issues to how nonhumans are intrinsically valued, this is a vital project to pursue. (shrink)

Through research that was conducted with mountain bike trail builders, this article explores the processes by which socio-natures or ‘emergent ecologies’ are formed through the assemblage of trail building, mountain bike riding and matter. In moving conversations about ‘Nature’ beyond essentialist readings and dualistic thinking, we consider how ecological sensibilities are reflected in the complex, lived realities of the trail building community. Specifically, we draw on Morton’s (2017) notion of the ‘symbiotic real’ to examine how participants connect with a range (...) of objects and non-humans, revealing a ‘spectral’ existence in which they take pleasure in building material features that are only partially of their creation. Such ‘tuning’ to the symbiotic real was manifest in the ongoing battle that the trail builders maintained with water. This battle not only emphasized the fragility of their trail construction but also the temporal significance of the environments that these creations were rendered in/with. In conclusion, we argue that these findings present an ecological awareness that views nature as neither static, inert or fixed, but instead, as a temporal ‘nowness’, formed from the ambiguity of being in and with nature. Ecologically, this provides a unique form of orientation that re-establishes the ambiguity between humans and nature, without privileging the former. It is set against this ecological (un)awareness that we believe a re-orientation can be made to our understandings of leisure, the Anthropocene and the nature-culture dyad. (shrink)

The figure of the desert features extensively throughout the two volumes of Capitalism and Schizophrenia and is a recurring motif in Deleuze's sole-authored works. While recent book-length studies place geophilosophy at the forefront of Deleuze and Guattari's thought, the theme of the desert is mentioned in these studies only in passing, if at all. Understanding the role of the desert in the evolution of Deleuze and Guattari's collaborative enterprise is, however, important for a number of reasons: firstly, it allows us (...) to track the relationship between schizoanalysis and the wider project of geophilosophy and why the one necessary implies the other. Secondly, it helps us to position Deleuze and Guattari's work relative to other key figures such as Nietzsche and Heidegger who employ images of deserts and wastelands in their critique of modernity. Thirdly, and most importantly, it gives us a framework for theorising the Anthropocene – and the forms of capitalist spatiality that dominate it – as an epoch of both physical and metaphysical desertification in which the relationship between life and its material ground becomes ever more uncertain. The article concludes by relating Deleuze's remarks on desert islands to our contemporary environmental condition. (shrink)

The philosopher Martin Heidegger argued that the truthful life was at risk of being lost in Western technological culture in the name of increasing control, efficiency, and agility. As the risk is actualised, so the human essence as truth maker is obscured and life itself feels poorer. This thesis draws on Heideggerian philosophy to demonstrate the loss in two dominant styles of contemporary strategic management: the world-picturing and, more recent, agile style. It builds a theory of post-agile strategic practice, which (...) I call adaptive, to address this loss. Consistent with Heideggerian philosophy, I utilise a transformative disclosure methodology and a literary, paradigmatic case reading method to address the questions: Why is agile strategic management so unsatisfying? How do Heideggerian scholars shed light on this dissatisfaction? How do Heideggerians understand the emerging style and what strategic management practices can I propose for the future? After introducing agile strategic management and the impoverishment of life that it fosters, I set out how Heidegger’s philosophy of truth, thinking, and the sacred both sheds light on the problem and suggests a remedy for it. I closely read paradigmatic texts of the world-picturing and agile strategic management styles to demonstrate how business strategy theorisation lines up with extraordinary closeness to Heidegger’s philosophical assessment. I then analyse three Heideggerian prototypes for an adaptive style of strategy practice, concentrating on one paradigmatic text to identify their principal weakness: the omission of the sacred. I illustrate and contrast paradigmatic cases of both the agile and adaptive styles drawn from the beer industry and draw on the adaptive case to construct a theory of adaptive strategy practice, which addresses the problem of the loss of truth, suggesting pedagogical and strategic management practices. I conclude by summarising its findings and contributions, noting some limitations and connections to other studies and suggesting further lines of research. (shrink)

_Psychoanalysis Beyond the End of Metaphysics_ offers a new paradigm approach which advocates reengaging the importance of metaphysics in psychoanalytic theorizing. The emergence of the relational trend has witnessed a revitalizing influx of new ideas, reflecting a fundamental commitment to the principle of dialogue. However, the transition towards a more pluralistic discourse remains a work in progress, and those schools of thought not directly associated with the relational shift continue to play only a marginal role. In this book, Robin S. (...) Brown argues that for contemporary psychoanalysis to more adequately reflect a clinical ethos of pluralism, the field must examine the extent to which a theoretical commitment to the notion of relationship can grow restrictive. Suggesting that in the very effort to negotiate theoretical biases, psychoanalytic practice may occlude a more adequate recognition of its own evolving assumptions, Brown proposes that the profession’s advance requires a return to first principles. Arguing for the fundamental role played by faith in supporting the emergence of consciousness, this work situates itself at the crossroads of relational, Jungian, and transpersonal approaches to the psyche. Psychoanalysis Beyond the End of Metaphysics will be of significant interest to all psychodynamically oriented clinicians, alongside scholars of depth psychology and the philosophy of mind. It will also be helpful to advanced and postgraduate students of psychoanalysis seeking to orient themselves in the field at present. (shrink)

Often, political theories of the subject detach the subject from nature or else reduce the subject to a mere aggregate of natural features. Consequently, many attempts to articulate theories of the subject purport to preserve political theoretical concepts such as freedom, normativity, or responsibility by means of disjoining the subject from its environment. This article proposes a new theory of the ecologically conditioned subject. Developing the concept of companion ecologies, the article employs three examples – architecture, the human microbiome, and (...) indigenous Amazonian ontologies – to show how theorizing the subject at all necessitates theorizing her ecological conditions, as well. Companion ecologies do not refer merely to our environmental conditions, then. The term also functions as a referent. Ultimately, companion ecologies reveal that the individuation and formation of the subject is a process that takes place, paradoxically, only because of the ecological plurality underlying it. From this, I derive a minimalist theory of the subject for which subjects are materially and temporally extended and causally distributed morphogenetic sites, which emerge only in the context of interactive, multiscalar, and overlapping companion ecologies. (shrink)

ABSTRACTTheories of aesthetics have traditionally represented the aesthetic object as a framed, distanced and contemplated individual piece to be appreciated. As such the aesthetic object has mainly been a work of art. This view has been challenged especially by environmental and everyday aesthetics, approaches which bring everyday environments and matters into consideration as possible objects of aesthetic appreciation. In this article I explore recent theories of everyday aesthetics focusing on how they treat the questions concerning ordinarity and attachment with regard (...) to aesthetic experience. In addition, I participate in the ongoing discussion of the nature of everyday aesthetic experience but I do so from a new point of view by introducing a notion of dwelling as a key concept to understanding aesthetic dimensions of our everyday life. The concept of dwelling indicates two different semantic elements of the aesthetic in our everyday existence: that of sensing and perceiving on one hand, and creating on the other. As such it offers a versatile point of departure in viewing our everyday aesthetic life. (shrink)

This paper focuses on Eduardo Viveiros de Castro’s notion of Cannibal Metaphysics and the use of indigenous alter-anthropologies that offer the possibility to think thought otherwise than the dominant frameworks of Western modernity. It traces the use of cannibalism across thinking and making, exploring the work of Brazilian artist Hélio Oiticica and his imaginative spatial and material practices that establish relational ecologies between humans and nonhumans. Ecology is foregrounded as a necessary precondition for thought’s possibility. The concept of ‘Nature’ is (...) contested as a foundational concept to enable modes of imaginative worlding to emerge that significantly challenge Western intellectual frameworks, depriving them of their universality and therefore transforming knowledge. “Cannibal alterity” is mapped as a political act of transgression where values are devoured in order to subvert their meanings, unsettle their cultural dominance and oppressive force, to transform their negative and destructive power into new creative and productive forms. (shrink)

I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, (...) to demonstrate how Malick's creative process consistently tends towards an ethos of poverty. To further pattern and illuminate the ecological stakes of this Emersonian stance, I draw on the complementary framework of second-order systems theory, and in particular, on Niklas Luhmann's concept of simultaneity. In so doing, I outline the layered nature of Malick's cinematic praxis – a doubled Emersonian receptivity which not only invites defamiliarizing depictions of warfare and the nonhuman, but also welcomes, and toys with, the otherness haunting technical images and human cognition. As such, The Thin Red Line, and its immediate counterparts, perform the ecological work of reframing the conditions of wonder, asking us to marvel not at what we have seen, but what we haven’t. (shrink)

In this article, I theorize the soundscape of Dene “myth”—stories and songs that are both philosophically and literally true—by defining an interpretive template for listening actively to these ecologically and spiritually powerful expressions. I offer two central and interlinked concepts for figuring the soundscape: (1) narrative revitalization and (2) animal grammar. Together these concepts describe the power of animal stories to live: and to enable life. As a key premise of my analysis, I accept Dene “myth” as true.

Bruno Latour (2004) claims that modernist critique, the kind that removes the false veils of ideology, ‘has run out of steam’. Despite its theoretical variety, it often consists in pointing out how...

У статті розглядається гіпосуб’єктивація як найбільш суттєвий вид суб’єктивації у пост-Антропоценному контексті. Гіпосуб’єктивація становить різновид суб’єктивації, яка враховує можливість і необхідність антропологічного ніщо або навіть меншого, ніж ніщо, – не-присутності людської істоти. Порівняно з гіпероб’єктами, гіпосуб’єкти постають лаканіанською «ламелою», дельозіанським «подвійним віялом сенсації» як продуктивними метафорами або, у більш філософсько-антропологічному формулюванні, моторошним онтологічним «дивним диваком». Пост-антропоценна партикулярізація та сингулярізація людської істоти вводить її у стан не-Всього як іщо, ечі, меньшого, ніж ніщо. І це стан гіросуб’єкта з його контингентністю у n-вимірах, (...) агентурністю, спротиву будь-яким -ізмам, пустотності в дивній реальності. У статті показано, що саме гіпосуб’єкт, «дивний дивак» реалізує шизотратегії заради відкритості людської істоти, яка не-присутня в її меонтичній нищі-вності, або тактики плавлиння як становлення-Природою. Такий підхід розвивається в аспекті не-людського повороту як значущого філософсько-антропологічного напряму. Дослідження ґрунтується на філософії пост-постмодерна, об’єкт-орієнтованої онтології, дивному, агентурному реалізмі інтра-акцій тощо, де людська істота розглядається в багатоманітті її нищі-вності. Філософська антропологія в цьому випадку змикається з глибинною, темною та дивною екологією, а людська істота постає природним об’єктом, що є позбавленим власної природи. Матеріал для дослідження становили актуальні культурні явища, як-от творчість Бйорк, Олафура Еліассона та «A Place of a Bury Strangers», а також відповідні життєві практики в подієвості постпостмодерна. Таким чином стверджується принцип гіпосуб’єктивації людської істоти в пост-Антропоценному контексті. (shrink)