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Arts, Ecologies, Transitions provides in-depth insights into how aesthetic relations and current artistic practices are fundamentally ecological and intrinsically connected to the world. As art is created in a given historic temporality, it presents specific modalities of productive and sensory relations to the world. With contributions from 49 researchers, this book tracks evolutions in the arts that demonstrate an awareness of the environmental, economic, social, and political crises. It proposes interdisciplinary approaches to art that clarify the multiple relationships between art and ecology through an exploration of key concepts such as collapsonauts, degrowth, place, recycling, and walking art. All the artistic fields are addressed from the visual arts, theatre, dance, music and sound art, cinema, and photography – including those that are rarely represented in research such as digital creation or graphic design – to showcase the diversity of artistic practices in transition. Through original research this book presents ideas in an accessible format and will be of interest to students and researchers in the fields of environmental studies, ecology, geography, cultural studies, architecture, performance studies, visual arts, cinema, music, and literature studies.
"Arts, Ecologies, Transitions provides in depth insights into how aesthetic relations and current artistic practices are fundamentally ecological and intrinsically connected to the world. As art is created in a given historic temporality, it presents specific modalities of productive and sensory relations to the world. With contributions from more than 45 researchers, this book tracks evolutions in the arts that demonstrate an awareness of the environmental, economic, social, and political crises. It proposes interdisciplinary approaches to art that clarify the multiple relationships between art and ecology through an exploration of key concepts such as collapsonauts, degrowth, place, recycling, and walking art. All the artistic fields are addressed from visual arts, theatre, dance, music and sound art, cinema, photography, including those that are rarely represented in research such as digital creation or graphic design, to showcase the diversity of artistic practices in transition. Through original research this book presents ideas in an accessible format. It book will be of interest to students and researchers in the fields of environmental studies, ecology, geography, cultural studies, architecture, performance studies, visual arts, cinema, music and literature studies"--
Makis Solomos explores the ecologies of music and sound, inspired by Felix Guattari, for whom environmental destruction caused by capitalism goes hand in hand with deteriorating ways of living and feeling, and for whom an ecosophical stance, combining various ecological registers, offers a glimpse of emancipation, a position strengthened today by intersectional approaches. Solomos explores environmental, mental and social ecologies through the lens of the history of music and current artivisms – especially in the fields of acoustic ecology, contemporary music and sound art. Several theoretical and analytical debates are put forward, including a theory of sound milieus and the biopolitics of sound; the relationships between music and the living world; soundscape compositions, field recording, ecomusicology, and the creation of sound biotopes; the use of sound and music to violent ends as well as considering the social and political functions of music and the autonomy of art, sonic ecofeminism, degrowth in music, and much more.
Urban reuse, creative production, consumerism, and heritage protection have formed an alliance for the transformation of inner-city districts of Shanghai. This in-depth study, based on the author’s intimate familiarity of the local scene and supplemented by her critical outsider’s insights, describes the strategies, players, and processes of a uniquely Chinese model of urban transformation. Concepts like "Urban Loopholes", "Preservation via inhabitation", and "Gentrification with Chinese characteristics" characterize the specific mechanisms for urban development in Shanghai. Urban Loopholes invites the reader to rethink the necessity of urban resilience in the face of globalization’s impact for change.
This book explores an exciting range of creative engagements with ecologies of place, using geopoetics, deep mapping and slow residency to propose broadly based collaborations in a form of ‘disciplinary agnosticism’. Providing a radical alternative to current notions of interdisciplinarity, this book demonstrates the breadth of new creative approaches and attitudes that now challenge assumptions of the solitary genius and a culture of ‘possessive individualism’. Drawing upon a multiplicity of perspectives, the book builds on a variety of differing creative approaches, contrasting ways in which both visual art and the concept of the artist are shifting through engagement with ecologies of place. Through examples of specific established practices in the UK, Australia and the USA, and other emergent practices from across the world, it provides the reader with a rich illustration of the ways in which ensemble creative undertakings are reactivating art’s relationship with place and transforming the role of the artist. This book will be of interest to artists, art educators, environmental activists, cultural geographers, place-based philosophers and postgraduate students and to all those concerned with the revival of place through creative work in the twenty-first century.
What role might art exert in light of the challenges posed by climate change, resource depletion, and the diverse political and cultural crises our societies face in the twenty-first century? The hypothesis guiding this book is born of Félix Guattari’s claim that in confronting the multi-faceted problems of our global political economy we need to develop a more complex analysis of nature, culture and technology, shifting from catastrophic, end-of-the world narratives to productive, generative, trans-species alliances for the sake of the sustainability of life on the planet. Because capitalism is no longer understood merely as a mode of production but as a system of semiotization, homogenization, and of transmission of forms of power over goods, labour and individuals, only the emergence of other relational subjective formations would be able to counteract the fixation of desire towards capital and its diverse crystallizations of power. New social practices, new aesthetic practices and new practices of the self in relation to the other are summoned to undertake an ethical-political reinvention of life. As Guattari argues, it is about reappropiating universes of value and paving the way for the emergence of processes of singularization involving a mutating subjectivity, a mutating socius, and a mutating environment. This book is engaged in thinking about the conjunction of the ecological turn in contemporary art and the attention given to matter in recent humanist scholarship as a way of exploring how new configurations of the world suggest new ways of being and acting in that world. Contributors investigate the means by which art can act as an existential catalysist, providing ways of changing our modes of relation beyond traditional modes of representation and, in doing so, instituting transformation.
Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as: The dynamics of transfer between the performing and visual arts. The philosophy and terminologies of transitioning between media. Narratives and counternarratives in historical re-creations. The status of chronology and the document in art scholarship. This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.
Adorno believed that a circular relationship was established between immediacy and mediation. Should we now say that this model with its clear Hegelian influence is outdated? Or does it need some theoretical integration? This volume addresses these questions by covering the performance of music, its technological reproduction and its modes of communication – in particular, pedagogy and dissemination through the media. Each of the book’s four parts deal with different aspects of the mediation process. The contributing authors outline the problematic moments in Adorno’s reasoning but also highlight its potential. In many chapters the pole of immediacy is explicitly brought into play, its different manifestations often proving to be fundamental for the understanding of mediation processes. The prime reference sources are Adorno’s Current of Music, Towards a Theory of Musical Reproduction and Composing for the Films. Critical readings of these texts are supplemented by reflections on performance studies, media theories, sociology of listening, post-structuralism and other contiguous research fields.
Architecture theory through the lens of Continental philosophy Drawing on a range of philosophical texts, Andrej Radman brings together a collection of his essays, published over the last decade, to show that when a society manipulates its matter it is not a reflection of culture, it is culture. To speak of ecologies of architecture is to break with judgement for experience. As Gilles Deleuze put it in his book on Nietzsche, it is not about justification, 'but a different way of feeling: another sensibility'. If to think differently we have to feel differently, then the design of the built environment has no other purpose but to transform us. While engineering is solution-oriented, architecture stays with the problem so as to tease out a creative potential. Andrej Radman is Assistant Professor of Architecture Theory at Delft University of Technology, the Netherlands.
About environmental art and ecological aspects of art in the 1960s and 1970s.