Academic literature on the topic 'Posthumanist ecologies'
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Journal articles on the topic "Posthumanist ecologies"
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Fernando, Mayanthi. "Uncanny Ecologies." Comparative Studies of South Asia, Africa and the Middle East 42, no. 3 (December 1, 2022): 568–83. http://dx.doi.org/10.1215/1089201x-10148233.
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Abstract If secularity ushered in the notion of humans as buffered subjects immune to nonhuman agents, recent attempts to recognize the agency of nonhumans and to see humans as always in relation to nonhumans—the natureculture turn—may be understood as both a posthumanist and postsecularist project. Yet this scholarship has largely restricted nonhumans to entities previously classified as “natural” phenomena, leaving “supernatural” beings out of the conversation and leaving the distinction between nature and supernature intact. Fernando argues that fully undoing the nature/culture distinction means attending to this third domain—the more-than-natural—still banished from our ontological horizons. This is especially important for any consideration of the Anthropocene, since climate crisis affects communities that do not live only in secular worlds nor abide only by secular categories. The author therefore turns to South Asia to theorize what she calls uncanny ecologies—that is, interspecies webs of care and commitment among animals, humans, and deities. The author also asks why these nonsecular multispecies worlds have not been taken up as viable models of relationality and Anthropocene livability to the extent that Amerindian ontologies have, speculating that more-than-natural, more-than-human agency remains a problem for secular sensibilities.
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Bhattacharyya, Pronami. "Ecology of the ‘Other’: A Posthumanist Study of Easterine Kire’s When the River Sleeps (2014)." Humanities 13, no. 1 (January 22, 2024): 19. http://dx.doi.org/10.3390/h13010019.
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In Posthuman Ecology, anthropocentrism, based on the binary division between the privileged human and the ‘other’, gets deconstructed, leading to an acknowledgment of humans as essentially tangled in an intricate web of the natural world. In such ecologies, boundaries between the human and the more-than-human (non-human) worlds become porous, creating fluid identities and conditions of being within a framework of active interplay between the human and the non-human world. The ecology of folktales is replete with Posthumanism, as their narratives consistently break the unbridgeable gap between the human, non-human, and the spiritual and/or supernatural worlds and present certain non-naturalist ontologies that are mostly at odds with naturalism or modern empirical science. Such tales provided much-needed templates for sustainable development in the time of the Anthropocene. This paper attempts to study Easterine Kire’s When the River Sleeps (2014) as a posthumanist narrative where Vilie (a hunter) goes on a fantastical journey to find a fabled magical stone from the bottom of the ‘sleeping river’. Vilie’s journey comes out as a playground for both mundane and fantastic elements. He grows as a human being, and this happens as he transacts with the non-human and the supernatural world and comes across deep metaphysical questions and presents keys to understanding balance-in-transcendence.
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Rousell, David, and Fiona Fell. "‘Becoming a work of art’ revisited: Ecologies of collaboration in tertiary visual arts education1." International Journal of Education Through Art 20, no. 1 (March 1, 2024): 27–49. http://dx.doi.org/10.1386/eta_00150_1.
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Collaboration continues to be a growing focus of teaching, learning and research in university art departments. We are also witnessing a turn towards ecological and multispecies approaches in contemporary arts practice and education across the university sector and creative industries. In this revisitation of our earlier work, we ask how the transition into ecological understandings of collaboration might disrupt and reorientate humanist ontologies of visual arts education in the university. We draw on posthumanist and new materialist theories to reconceptualize collaboration in ways that are responsive to the ecological entanglements that comprise a work of art under current climatological and biodiversity crises. From there we develop a cartographic analysis of collaborative works of art in the making, drawing on a year-long participatory study with third-year undergraduate art students. In the final section we revisit our proposition for ‘becoming a work of art’ through more-than-human collaboration and explore the implications of this concept for speculative pedagogic practice and curriculum making in arts education.
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Lotherington, Heather, Kurt Thumlert, Taylor Boreland, and Brittany Tomin. "Redesigning for mobile plurilingual futures." OLBI Journal 11 (March 15, 2022): 141–72. http://dx.doi.org/10.18192/olbij.v11i1.6179.
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The New London Group’s 1996 manifesto was a clarion call to educational researchers to fundamentally redesign language and literacy education for the needs of global learners communicating in evolving digital media environments. In this conceptual overview, the “how”, “what” and “why” of multiliteracies are critically re examined from the perspective of mobile digital language learning in posthumanist media ecologies, with attention drawn to paradigm shifts in language, technology, multimodality and context. We argue that Web 3.0 environments, AI and rapidly emerging algorithmic cultures have outpaced earlier critical theorizations of multiliteracies and digitally mediated learning practices as well as meaningful implementation of multiliteracies pedagogies in schools. We then reconsider the affordances and constraints of Web 3.0 tools for multilingual/plurilingual language learning, and sketch pathways for critical and productive engagements with mobile devices and multiliteracies pedagogies that reframe and advance the important critical work of the New London Group.
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Campo Woytuk, Nadia, and Marie Louise Juul Søndergaard. "Biomenstrual: More-than-Human Design of Menstrual Care Practices." Temes de Disseny, no. 38 (July 27, 2022): 116–31. http://dx.doi.org/10.46467/tdd38.2022.116-131.
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Biomenstrual is a Research through Design project for imagining, designing and practicing menstrual care beyond the human body. Drawing from feminist posthumanist theories that address the multispecies entanglements and ecologies our bodies form part of, we use design practice to research how caring for one’s menstrual health might extend to caring for the environment and the planet’s wellbeing. Motivated by existing practices of using menstrual blood as a fertilizer, and by the current landscape of unsustainable disposable menstrual products, we designed biodegradable menstrual pads and speculate on the practices and tools that are part of this fabrication process. We introduce and imagine a cyclical process where the biodegradable absorbent materials in menstrual care products are gathered, assembled into pads, used and discarded together with the body’s materials (menstrual blood, mucus and tissue) not as waste, but as fertilizer and compost, nourishing the soil and the species the biomaterials were first obtained from.
In this pictorial, we present this design process, including the resulting biomaterial experiments, recipes, tools and speculative scenarios of decomposition. The project is taking place in Nordic ecologies where we are working in close relation with the local species of sphagnum moss and gluten extracted from wheat, which we have used as superabsorbent materials in the menstrual pads. From our own kitchens turned into biomaterial engineering and design labs, the Biomenstrual project probes the relationships between lab-based experimentation and cooking and crafting in the home, drawing from the figure of the witch, the empirical and resourceful woman attending to both her own body and the bodies of other species.
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Serada, Alesha Alesha. "The Obligatory Underwater Level: Posthuman Genealogy of Amphibian Human in Media." Corpus Mundi 2, no. 2 (July 16, 2021): 35–56. http://dx.doi.org/10.46539/cmj.v2i2.41.
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Will humankind ever be able to live underwater? To answer this question from the perspective of visual media studies, I analyze narrative and expressive means used for positive representation of underwater experiences in several examples of screen media. My examples are principally different by origin and yet united by their highly enjoyable effect of immersion into underwater worlds. My primary focus is on Amphibian Man (1928), a cult early science fiction novel by Alexandr Belyaev adapted for screen in 1962 in the USSR.I also explore its unintentionally close contemporary reproduction in The Shape of Water (2016), which even led to accusations in plagiarism. The third example is a contemporary independent video game ABZU by Giant Squid (2016), which replays the same theme of amphibian human existence in a positive light. These cases present a surprisingly rare view of a safe, friendly and interactive marine world, approached by the protagonist who can breathe underwater. I apply the posthumanist lens to find out that, surprisingly, aquatic cyborgs seem to be underrated by the queer thought (Haraway, 2015, 2016); I conclude that the model of ‘queer ecologies’ may become the needed development.
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Lasczik, Alexandra, David Rousell, Yaw Ofosu-Asare, Angela V. Foley, Katie Hotko, Ferdousi Khatun, and Marie-Laurence Paquette. "water/watery/watering: Concepts for Theorising in Environmental Education." Australian Journal of Environmental Education 36, no. 2 (July 2020): 146–68. http://dx.doi.org/10.1017/aee.2020.17.
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AbstractThe assemblage of water/watery/watering is a lively cartography of how water may be accounted for when theorising with and through environmental education research. Challenging the universalising claims of Western technoscience and the colonial logic of extraction, the article develops an alternative theoretical mapping of environmental education through engagements with Ingold’s (2007, 2012, 2015) concepts of lines, knots, and knotting. For this article and for the Special Issue in which it is housed, the concepts of such knottings are defined as an assemblage of haecceities, lived events that are looped, tethered and entangled as material and conceptual agencies that inhere within situated encounters. Thus, this article grapples with the need to account for water differently in contemporary posthuman ecologies. To overcome anthropocentric and mastery-oriented approaches, various other ways to account for water in science or environmental education will continue to come to the surface, bubbling and rushing like a waterfall as they have done in this work. Some of these will include thinking with water, which will be central to a theoretical mapping of water that seeks embrace sticky knots. The article explores a (re)turn to artful practices and encounters as spaces in which posthumanist concepts for environmental education might be cultivated.
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Sisler, Aiden. "‘Co-Emergence’ In Ecological Continuum: Educating Democratic Capacities Through Posthumanism as Praxis." ETHICS IN PROGRESS 6, no. 1 (February 1, 2015): 119–39. http://dx.doi.org/10.14746/eip.2015.1.10.
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In this piece I argue for posthumanism-based deliberation and education toward just global ecologies. I propose posthumanism’s nonanthropocentric ethical approach and conceptual framework enables a processual multiperspectival account of rich, variegated bionetworks and their organic and inorganic materials’ interrelationships and interdependencies. Among reciprocal studies and methodologies, I consider Mitchell’s (2004) integrative pluralism in tandem with a developmental systems paradigm of co-emergence to acknowldge the dynamic epistemological continuum of complex ecologies. In terms of specific embedded learning experiences, I briefly discuss Lind’s Konstanz Method of Dilemma Discussion (KMDD)® as one specific approach in which to cultivate democratic capacities whilst embracing the destabilizing-stabilizing tendencies of posthumanistic praxis for inclusive flourishing.
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Ambroży, Paulina. "The Posthuman Body as an EcoGothic Wasteland in Allison Cobb’s After We All Died and Adam Dickinson’s Anatomic." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 61–91. http://dx.doi.org/10.18778/2083-2931.13.04.
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The focus of my inquiry are environmentally inflected metaphors and discourses of toxicity which inform the contemporary North American posthuman lyric. This provisional generic category of the posthuman lyric has been inspired by the recent shift from an anthropocentric understanding of lyric subjectivities to a biocentric perspective which repositions human epistemologies in relation to more-than-human matter. The posthuman angle questions the concept of the sovereign human self, stressing transversal ontologies, open to inter-agential exchanges, diverse biosemiotic processes and communication loops. My primary interest is in poetic representations of the human body as a transversal, toxic, catastrophe- and death-haunted wasteland. The volumes chosen to problematize those processes are Allison Cobb’s After We All Died (2016), an elegiac meditation on the dying human species and anthropogenic change, and Adam Dickinson’s Anatomic (2018), which probes the leaky perimeters of the chemical self using an electronic microscope and burden tests of the poet’s own bodily tissues. The posthumanist angle which informs the analyses is supplemented with an ecoGothic one, as both critical paradigms can be seen as interrogatory discourses which probe human fears and hopes concerning the “edge of the human” and the recognition of non-human agency. Within the ecoGothic framework, nature is seen as “a contested site”—a “space of crisis,” where human and non-human ecologies interact and co-produce meaning. This double lens will be used for the study of posthuman imaginaries and Anthropocene affects employed by Dickinson and Cobb.
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Smith, Cathy. "Tin City: Nomadic occupation, colonization and resistance in the sand dunes of Stockton Bight, Australia." Design Ecologies 9, no. 1 (June 1, 2020): 93–109. http://dx.doi.org/10.1386/des_00006_1.
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This article explores nomadic site occupation as a form of planetary colonization involving both human and non-human agents. Conventional understandings of temporary occupation are often humancentric with little attention paid to the disruption of extant site ecologies and processes. The latter are particularly pressing concerns in nomadic settlements located in precarious landscapes. Taking the latter as its focus, this article engages the earth as an agent resisting its own colonization in the Australian-licensed squatter settlement known colloquially as Tin City. Located within the largest mobile sand dune structure in New South Wales, Tin City is an assemblage of several self-built fishing shacks accommodating a nomadic population. Its occupants engage in a daily battle against the shifting sands that threaten to subsume their temporary homes. Located in an area of significant indigenous heritage, the Tin City settlement has become a tourist attraction shrouded in local lore. Current discourses about it and its architectures generally focus on its unusual aesthetics, its contested sociopolitical histories and its ecology, with some discussion on the impacts of European colonization on the sand dune’s dynamic geomorphology. To concentrate on the latter, the article develops and deploys the posthumanist conceptualization of the earth posited by Iranian philosopher Reza Negarestani in his ficto-critical text Cyclonopedia: Complicity with Anonymous Materials. Negarestani ascribes the earth with sentient and agentic capacity, whilst the nomads who traverse its surfaces become the penultimate planetary colonizers. Tin City’s occupation thus becomes a story of colonization and resistance narrated by the earth itself, and a reminder that the production and consumption of architectural forms does not need to be confined to that which is conventionally human.
Dissertations / Theses on the topic "Posthumanist ecologies"
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Israelson, Per. "Ecologies of the Imagination : Theorizing the participatory aesthetics of the fantastic." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-142205.
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This book is about the participatory aesthetics of the fantastic. In it, the author argues that the definition of the fantastic presented by Tzvetan Todorov in 1970 can be used, provided it is first adapted to a media-ecological framework, to theorize the role of aesthetic participation in the creation of secondary worlds. Working within a hermeneutical tradition, Todorov understands reader participation as interpretation, in which the creative ambiguities of the literary object are primarily epistemological. However, it is here argued that the aesthetic object of the fantastic is also characterized by material ambiguity. The purpose of this dissertation is then to present a conceptual framework with which to theorize the relation between the material and the epistemological ambiguity of the fantastic. It is argued that such a framework can be found in an ecological understanding of aesthetic participation. This, in turn, entails understanding human subjectivity as a process always already embodied in a material environment. To this extent, the proposed theoretical framework questions the clear and oppositional distinction between form and matter, as well as that between mind and body, nature and culture, and human and non-human, on which a modern and humanist notion of subjectivity is based. And in this sense, the basic ecological assumptions of this dissertation are posthumanist, or non-humanist. From this position, it is argued that an ecological understanding of participation offers a means to reformulate the function of a number of concepts central to studying the aesthetics of the fantastic, most notably the concepts of media, genre and text. As the fantastic focuses on the creation of other worlds, it is an aesthetics of coming into being, of ontogenesis. Accordingly, it will be argued that the participatory aesthetics of the fantastic operationalizes the ontogenesis of media, genres and texts. By mapping the ontogenesis of three distinct media ecologies – the media ecology of fantasy and J. R. R. Tolkien’s secondary world Middle-earth; the media ecology of the American comic book superhero Miracleman; and the media ecology of William Blake – this book argues that the ecological imagination generates world. Per Israelson has been a doctoral candidate in the Research School of Studies in Cultural History at the department of Culture and Aesthetics, Stockholm University. Ecologies of the Imagination is his dissertation.
Books on the topic "Posthumanist ecologies"
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Symbiotic Posthumanist Ecologies in Western Literature, Philosophy and Art.: Towards Theory and Practice. Berlin, Germany: Peter Lang, 2023.
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Alaimo, Stacy. Nature. Edited by Lisa Disch and Mary Hawkesworth. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199328581.013.28.
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The term “nature,” because of its associations with gender and racial essentialisms, its position in foundational Western dualisms, its place in the colonialist imagination, and its promotion of heteronormativity is a volatile term for feminist theory. While much feminist theory has distanced itself from the conceptual terrain of nature, environmental feminisms, material feminisms, feminist science studies, queer ecologies, and feminist posthumanisms approach “nature” differently, productively engaging with human corporeality, environments, material agency and nonhuman life. In this anthropocene era, marked by the human alteration of the biological, geological, and chemical composition of the planet, feminist theory needs to contend with “nature” in ways that are attuned not only to social justice but to the survival of a multitude of species, ecosystems, and life forms. Feminist theory is thus a vital resource for all theorists who wish to rethink the concept of nature and its theoretical, ethical, and political entanglements.
Book chapters on the topic "Posthumanist ecologies"
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Harris, Anne. "Posthumanist creative ecologies in primary education." In Sculpting New Creativities in Primary Education, 76–87. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003129714-6.
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Wood, David. "Posthumanist Responsibility." In Deep Time, Dark Times, 82–95. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281367.003.0007.
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The issue of responsibility in connection with global climate change is especially challenging. “I didn’t melt that glacier.” And yet, very likely “we” did, even though there is no collective “we” that acted. The more we know about the excessively large typical Western carbon footprint, the more easily we each can feel guilty— bout travel, our lifestyle, our food, and so on. This experience cuts through the lack of a collective agent through some such idea as participation. Fundamental questions about responsibility are pursued, in the face of doubts about the agent-as-subject, from posthumanists, new materialists, Heidegger, Derrida, feminists, deep ecologists, and others. The landscape of such responsibilities as we may suppose we have is sketched out, arguing that we need both traditional accounts of responsibility that can charge CEOs with culpable negligence, as well as a deeper sense of response-ability, involving imagination, and a multi-faceted openness to the Other.
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Kirby, Vicki. "Un/Limited Ecologies." In Eco-Deconstruction. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279500.003.0006.
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It seems fair to say that Jacques Derrida’s critical legacy has waned with the restyling of the humanities as science friendly. The term posthumanism, for example, accommodates broad themes in ecology, animal studies, evolution and climate change—even the nature of Life itself. This turn toward physical reality attests to a growing interest in science and its methodologies, as we see in popular accounts of affect theory, new materialism, and object-oriented ontology. Indeed, it is often argued that the waning of the linguistic turn and its apparent hermeticism has enabled this recent fascination with the materiality of bodies and things. However, is Derrida’s “no outside of text” about closure, or its im/possibility? And if the limit segregates nothing at all, if the limit is itself no-thing, then is grammatology an open ecology that already includes what it is defined against, including what is yet to come?
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Best, Sarah. "Digital Game Ecologies." In Feminist Posthumanism in Contemporary Science Fiction Film and Media. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781501398438.0019.
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"Ecologies of Praxis: Teaching and Learning against the Obvious." In Posthumanism and Educational Research, 105–17. Routledge, 2014. http://dx.doi.org/10.4324/9781315769165-16.
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"Post-Anthropocentric Ecologies and Embodied Cognition." In Posthumanism and the Graphic Novel in Latin America, 163–81. UCL Press, 2017. http://dx.doi.org/10.2307/j.ctt1rfzxnd.10.
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Fritsch, Matthias, Philippe Lynes, and David Wood. "Introduction." In Eco-Deconstruction. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279500.003.0001.
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This chapter serves to introduce the reader to eco-deconstruction and the relevance of Derrida’s thought to environmental philosophy more broadly. After situating eco-deconstruction with respect to environmentally-concerned readings of other continental philosophers such as Husserl, Heidegger, Levinas, Merleau-Ponty, Hans Jonas, Gilles Deleuze, and Félix Guattari, the editors guide the reader’s navigation through the at times perplexing multiplication of related fields, including eco-criticism, eco-phenomenology, posthumanism, new materialism, and more. These examinations are followed by descriptions of the four sections of the book, “diagnosing the present,” “ecologies,” “nuclear and other biodegradabilities,” and “environmental ethics.”
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Proctor, Travis W. "Introduction." In Demonic Bodies and the Dark Ecologies of Early Christian Culture, 1–15. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197581162.003.0001.
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The Introduction provides an exploration of key terms, questions, and concepts that inform the study. The chapter begins with the observation that early Christian writers exhibited widely divergent ideas regarding the nature of the demonic body. The next part of the chapter introduces the main argument of Demonic Bodies: that such Christian demonological discrepancies were informed at least in part by concomitant divergences concerning the makeup of the Christian (human) body. The historical connections between humans and nonhumans push us to consider how early Christian texts might constitute “prehuman” narratives—that is, instances in which premodern humans conceived of their relationship with nonhuman entities and environments in ways that trouble human/nonhuman boundaries. The Introduction introduces key terms that will help scrutinize this relationship, including posthumanism, trans-corporeality, ecology, and ritual. The chapter closes by outlining each of the five main chapters and conclusion.