All Art is Ecological (Green Ideas)

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Rahmani, Aviva. 2022b. Diving Chaos. An Autobiography of an Idea. New York: New Village Press. [ Google Scholar] Mostly though, I had the impression that Morton is an edgelord. And that he fancies himself a bit too much.(And of course he has to drop that he knows Björk, personally.) Naess, Arne (June 1992). "Deep Ecology and the Potters in (sic) Our Planet". Studio Potter. 20: 39–9. Olma, Sebastian. 2018. Art and Autonomy: Past, Present, Future. Rotterdam: V2_ Publishing. [ Google Scholar]

In any other previous society, I would have been executed, I think,” Morton says, “for my gender and for the thoughts in my head.” The sense of incongruence, of not fitting into the categories and dogma that seemed to define the world, was often punishing—but also, perhaps, led them more intuitively to boundary-pushing philosophical spaces that others might never have imagined, or might have feared to tread in. The humbling, bizarre, destabilizing nature of hyperobjects was always going to be something that many people wanted to reject on its face. Indeed, many have. Ball, Lillian, Tim Collins, Reiko Goto, and Betsy Damon. 2011. Environmental Art as Eco-cultural Restoration. In Human Dimensions of Ecological Restoration. Society for Ecological Restoration. Edited by Dave Egan, Evan E. Hjerpe and Jesse Abrams. Washington, DC: Island Press, pp. 299–312. [ Google Scholar] Bower, Sam. "A Profusion of Terms". GreenMuseum. greenmuseum.org. Archived from the original on 1 February 2014 . Retrieved 23 August 2015.Stoltz, Barbara. 2021. Authorship in the Contemporary Production of Metal Sculptures: Art Theory, Technology, Law and the Organisation of Work. In Construction of Media. Investigating Aesthetic Practices from Early Modernity to the Digital Age. Edited by Christiane Heilbach, Angela Krewani and Irene Schütze. Berlin and Boston: De Gruyter, pp. 49–65. [ Google Scholar] Gevers, Ine (2013). Yes Naturally: How Art Saves the World. The Hague, Amsterdam, Rotterdam: Niet Normaal Foundation in collaboration with the Gerneentemusuem Den Haag.

Kagan, Sacha. 2013. Art and Sustainability. Connecting Patterns for a Culture of Complexity, 2nd emended ed. Bielefeld: Transcript. [ Google Scholar] Although Morton has grown to love Texas, they marvel at how often Texans seem to think their connection to the world begins “only when you leave the front door,” Morton says. If the radical, “rugged” individualism of the state, and America at large, insists on anything, it is that our fates and our suffering are defined only by our personal choices, not by invisible, systemic forces pressing down upon us or the people and things around us. This can make us feel powerful and in control; it is also what alienates us from each other and leaves us ill-prepared to cope with hyperobjects. Perhaps that’s why some people react so angrily to Morton’s work, to the idea that we are bound inextricably to each other. It makes us vulnerable. And I do believe we are on the precipice of a new paradigm. More and more intellectuals—from Timothy Morton and Eva Meijir to Bay Area Greats: Donna Haraway, Anna Tsing, Michael Pollan and Jenny Odell, we are hearing about a new way of being in the world. Starting with the Great Donna Haraway, these thinkers are not only telling us we need to stay with the trouble, but they are heralding a new age of interspecies democracy and solidarity with non-human people. Revise ecological relationships, creatively proposing new possibilities for coexistence, sustainability, and healing. [50] Moyer, Twylene; Harper, Glenn, eds. (2012). The New Earthwork: Art Action Agency. Washington, DC: University of Washington Press. ISBN 9780295991641.

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Busch, Werner, ed. 1987. Funkkolleg Kunst. Eine Geschichte der Kunst im Wandel ihrer Funktionen. Munich and Zürich: Piper Verlag. [ Google Scholar] Lipton, Amy, and Sue Spaid. 2002. Ecovention: Current Art to Transform Ecologies. London: Contemporary Arts Center. [ Google Scholar]

What is essential to this experience, says Morton (brilliantly, I think), “boils down to ambiguity: how things can appear to be oscillating between familiar and strange.”

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Kosok, Felix. 2021. Form, Funktion und Freiheit: über die ästhetisch-politische Dimension des Designs. Bielefeld: Transcript. [ Google Scholar] Remediation projects: reclaim or restore polluted and disrupted environments – these artists often work with environmental scientists, landscape architects and urban planners. [52] [53] Activist and protest art: engage, inform, energize and activate change of behaviors and/or public policy. [54] [55] [56] Semper, Gottfried. 1860. Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik. Ein Handbuch für Techniker, Künstler und Kunstfreunde. Frankfurt a. M.: Verl. für Kunst und Wissenschaft, vol. 1. [ Google Scholar]