Hi,
I'll drive from Ottawa to attend the two hour workshop in Toronto, if anybody wants to hop' in, let's make arrangements.
Monday, February 8, 2016
Sunday, February 7, 2016
Folklore, Mythology and the Anthropocene
Since we're beginning the screening section of the class, I began to think generally about the relationship between folklore, mythology and the anthropocene. On my search I came across an MA thesis which goes into 180+ pages on exactly that...
Storytelling beyond the Anthropocene:
A quest through the crises of ecocide toward new ecological paradigms
by Ilka Blue Nelson
"The simple definition of Quantum Narratives as used in this thesis is: an ecologically inspired storytelling method that supports ‘living’ knowledge systems. The term was devised for its connections to quantum physics, narrative theory and the more complex concept of “levels of Reality” central to transdisciplinarity (Nicolescu, 2002, 22). This means Quantum Narratives is a functional, subjective method (a story web supporting multiple ways of knowing) located within “transsubjective” or “multidimensional” universe (a dynamic web of relationships). There are other definitions of quantum narratives used in the broader study of knowledge systems,for example Goranson and Cardier use quantum narratives as a concept to explore ‘Agent Systems’ (the intelligent agents within computers, robots and machines) and their applications" (67).
The above quotation can be found in Chapter 2: Continum and Change, Why is storytelling critical to our survival?
Below is the link
I'm not sure if it's entirely relevant to what has been discussed in class, but I thought it would be interesting to further explore this on my own and so here I am sharing.
Storytelling beyond the Anthropocene: A quest through the crises of ecocide toward new ecological paradigms
Storytelling beyond the Anthropocene:
A quest through the crises of ecocide toward new ecological paradigms
by Ilka Blue Nelson
"The simple definition of Quantum Narratives as used in this thesis is: an ecologically inspired storytelling method that supports ‘living’ knowledge systems. The term was devised for its connections to quantum physics, narrative theory and the more complex concept of “levels of Reality” central to transdisciplinarity (Nicolescu, 2002, 22). This means Quantum Narratives is a functional, subjective method (a story web supporting multiple ways of knowing) located within “transsubjective” or “multidimensional” universe (a dynamic web of relationships). There are other definitions of quantum narratives used in the broader study of knowledge systems,for example Goranson and Cardier use quantum narratives as a concept to explore ‘Agent Systems’ (the intelligent agents within computers, robots and machines) and their applications" (67).
The above quotation can be found in Chapter 2: Continum and Change, Why is storytelling critical to our survival?
Below is the link
I'm not sure if it's entirely relevant to what has been discussed in class, but I thought it would be interesting to further explore this on my own and so here I am sharing.
Storytelling beyond the Anthropocene: A quest through the crises of ecocide toward new ecological paradigms
wrapping, enveloping, folding, submerging
Here are two examples of environmental art that might help us think through affect and the Anthropocene.
(1) Wrapped Coast by Christo & Jeanne-Claude
This work provides me with another way of seeing the coast. The morphing shape of the coastline helps me to think through the concept of the 'the fold' or 'folding', and I ask myself whether this enveloping substance laid upon the rocks might help me think with the concepts of 'de-territorialization' & 're-territorialization'?
Here we see an example of art engaging with the anthropocene; artists wrap and affect the texture of the land.
I'd like to keep interpretation open here, but I'm immediately struck by the dissonance of wrapping the coast. From my position in 2016 I can't help but see this ephemeral gesture in relation to climate change. Like a child I imagine, if only, we could protect the shoreline in this way, by wrapping it up, placing a silky bandage over it for safe keeping.
 |
| Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69 Photo by Harry Shunk |
 |
| Wrapped Coast - One Million Square Feet, Little Bay, Sydney, Australia (1968 - 69). Photo by Harry Shunk |
 |
Christo and Jeanne-Claude Wrapped Coast, One Million Square Feet, Little Bay, Sydney, Australia, 1968-69
Photo by Harry Shunk © 1969 Christo
|
(2) Museo Atlantico by underwater sculptor James deCaires Taylor
According to deCaires, “The work is not intended as a tribute or memorial to the many lives lost but as a stark reminder of the collective responsibility of our now global community”. Furthermore the museum "is designed on a conservational level to create a large scale artificial reef to aggregate local fish species and increase marine biomass whilst, on the other hand, to raise awareness to current threats facing the worlds oceans. The main installation, The Rubicon features a group of 35 people walking towards a gate, a point of no return or a portal to another world."
 |
| James deCaires Taylor's underwater exhibit "Rubicon" makes up part of the Museo Atlantico installed in the waters of Lanzarote, on of The Canary Islands. Photo by Jason deCaires Taylor |
 |
| "The Raft of the Lampedusa" Photo by Jason deCaires Taylor |
For more info see: PBS Article on "Europe's First Underwater Museum Offers A Stark Reminder Of The Refugee Crisis" & deCaires' Website
* Whereas Christo and Jeanne-Claude resisted political messages, the Museo Atlantico is an example of a contemporary artist engaging directly with environmental themes and global crisis. While Christo and Jeanne-Claude's installations were a blip in time, deCaires intends his underwater sculptures to last, and encourage life to grow around.
Saturday, February 6, 2016
I read this with my Saturday morning coffee....too apt not to share.
"If we consider the group to be the remarkable array of species alive on earth, and cooperation to represent these species' survival, then humanity is the bad apple. But just as humanity stands out among the rest of the earth's inhabitants as a particularly destructive force, certain humans stand out from humanity as particularly problematic. Although the Anthropocene implicates all of humanity, not all humans consume or pollute equally."
Jennifer Jacquet, Is Shame Necessary?: New Uses for an Old Tool (New York: Pantheon, 2015), 66.
"If we consider the group to be the remarkable array of species alive on earth, and cooperation to represent these species' survival, then humanity is the bad apple. But just as humanity stands out among the rest of the earth's inhabitants as a particularly destructive force, certain humans stand out from humanity as particularly problematic. Although the Anthropocene implicates all of humanity, not all humans consume or pollute equally."
Jennifer Jacquet, Is Shame Necessary?: New Uses for an Old Tool (New York: Pantheon, 2015), 66.
Subscribe to:
Posts (Atom)