Category Archives: Art

Call for Papers: SLSA 2017, Out of Time

Society for Literature, Science, and the Arts Conference

Tempe

SLSA 2017: Out of Time
Arizona State University
Tempe, Arizona
November 9 – 12, 2017

SLSA text

Call for Papers here: http://litsciarts.org/slsa17/submissions/
Deadline: May 15th, 2017.

 

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Jeff VanderMeer on Johannes Heldén’s Astroecology and Storytelling in the Anthropocene

by Jeff VanderMeer

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In the middle of the slow apocalypse of global warming, I find great value in experiments like Johannes Heldén’s Astroecology. We live in a time when approaches to interacting with the environment, including in storytelling terms, are rapidly changing. Some methods of telling stories and some kinds of stories are going extinct, too escapist or not granular enough to survive. Others have become less useful as delivery systems for meditation or mediation on this subject because too compromised or commodified by familiar tropes. Thinking seriously about our environment and how we live within it requires that we reassess the storytelling ecosystem—it’s a habitat in which experiments and mutations will flourish during the interregnum, cross-pollinate, and then perhaps themselves go extinct or be supplanted when global warming truly overtakes us.

One useful strategy for writing about the Anthropocene that I see reflected in Heldén’s project falls under the general category of “de-familiarization.” While this strategy has been used for some time to make readers see anew what has come to seem commonplace—Vladimir Nabokov in his novel Bend Sinister using the syntax of the travel brochure to describe a prison camp comes to mind—it seems much more urgent today, when there is so much we render invisible, even in our mundane daily existence.

In the context I find most interesting, de-familiarization manifests in part as a search for greater granularity and complexity in fictions (and nonfictions), and thus becomes part of that quixotic quest for a more detailed and useful “truth.” It can apply to just a portion of a narrative work, too. Is Tom McCarthy’s Satin Island, for example, climate or ecological fiction? No, not in its entirety, but when the narrator fixates on the scenes of oil in the backdrop of news reports as he walks through the transitional space of the terminal, the oil not only leaks out over fellow travelers but in its descriptions attains a kind of agency or power—and an intentional fetishizing—that is, indeed, almost uncanny, and makes it impossible to view as inert or something in the backdrop, and conjures up Heldén’s words, “We thought we could control the night.”

In Astroecology, Heldén takes the familiar space of an ordinary forest with ordinary signs of human habitation and by a process of interiority through a nameless narrator (perhaps some version of the author/creator, but not necessarily) and juxtapositions of different natural, human, and exterior-to-human interfaces (pop culture and other, which become unhinged or detached from their linkage) . . . makes both a personal and universal statement. The personal comes from Heldén’s inspiration, as he told me, in a family home, a place of loss with a “garden being reclaimed by weeds and other plants” and eventually by the forest itself. In a way similar to how scientists delivered their theses via poetry in the 1800s, before the rise of specialization, but with the added personal element of the passing of Heldén’s father as subtext and hidden from view . . . and yet still felt, even without that knowledge.[i]

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There’s a modern context for considering trees, and plants in general, that, like many facts about the world, is not sufficiently conveyed by or acknowledged by fictional narratives and that also creeps through the backdrop of Astroecology. The New York Times recently discussed Peter Wohlleben’s The Hidden Life of Trees, based on experiences in German forests:

[As most biologists know] trees in the forest are social beings. They can count, learn and remember; nurse sick neighbors; warn each other of danger by sending electrical signals across a fungal network known as the “Wood Wide Web”; and, for reasons unknown, keep the ancient stumps of long-felled companions alive for centuries by feeding them a sugar solution through their roots.

This is the mulch Heldén brings with his impressionistic text and his associations. He writes, “Ask: Gravity, radiation, making it visible.” That which exists behind the scenes, found in the basic expanding knowledge of the world, changes and contaminates texts like the Astroecology, makes it evolve each new month we engage with it.[ii] The cosmic streams through the space between the words because our words are never enough, even in an honest striving.

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There is another kind of defamiliarization that speaks to ecology, which is to view war not just as a human conflict with terrible consequences, but as a history of the inexplicable enacted upon natural ecologies. To cite just one possible hypothetical example, which could occur across either experimental or traditional narratives, I was struck by the juxtaposition between descriptions of the Battle of the Bulge in the Ardennes and other readings of the naturalist Alexander Humboldt exploring European forests more than a century earlier, in Andrea Wulf’s Humboldt biography The Invention of Nature.

Forest warfare during World War II included targeting the tops of trees with mortar and missile fire to make them explode and kill soldiers below. While machine-gun nests would riddle trees with bullets as a side effect of pitched battles between infantry units. In short, these battles were also violence perpetrated against trees, with profoundly traumatic effects.

What Heldén dramatizes through image could be thought of as peace-time war ecology. It is peaceful enough to us, but it is a violence against the flora. There can be no reconciling the meaning of that, and no one can, once noticing this fact, see just the peace in the author’s words. Damage lives there, too, and wounding. As he puts it, “A familiar scene slowly changing.”

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 At the far end of the scale and depth of Heldén’s ruminations lie other artifacts, outside of the confines of his project. Aase Berg’s poetry with its vigorously bleak yet oddly hopeful vision of a contaminated Earth on which, despite everything, life still exists and takes on strange new forms seems to exist at an end-point beyond the end of Astroecology, and yet contained within it with lines such as “Soot from burnt out stars falling slowly to the ground.”

There has never been a better time to be brave and pushing outward in our storytelling. Not because we wish for ecological collapse to create new stories for us, but because we hope for reconciliation. We hope that the limits of our imaginations are not what we fear they are, and that we can reach beyond those limits to find a kind of balance. We hope for ways in which the human experience can merge with the “natural,” so that nature and culture become one with the least harm to either, and so that we understand and share the ghosts of both.

An endeavor like Astroecology is more aligned with what I’ve been reading in eco-philosophy than straight-forward fiction, perhaps more attuned to the subtlety required to meet the challenge of reflecting, refracting, and projecting–internalizing—the necessary sedimentary layers and help us put aside the fallacy that what we cannot see does not exist. Heldén’s interdisciplinary approach allows us to join him in that quest.

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[i] Editor’s note: Though the notion of science poetry seems absurd today, Erasmus Darwin’s poetry was exceedingly popular in its day, and set the table for science poetry in the 19th century.  See here, some remarkable technology poems from various eras.
[ii] Editor’s note: See the Astroecology project and digital work here.

Image Sources:
1: Umea universitet.
2 & 3: #astroekologi medias.

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Filed under Art, Humanities and Ecology, Jeff VanderMeer, poetry, Poets and Poems

O. L. A. F. T.: Openlands at DePaul

O.L.A.F.T

More information here.

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DePaul Urban Farming Organization: Call for Artists

SQ17_ArtShow_CallforArt

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by | April 1, 2017 · 15:19

Trump’s Budget

Trump's Budget by artist Michael Koester 2017 03 17 (copyright free image)

Image by Michael Koester, mike@97520.net  Koester has advised us that this image is not under copyright, so please re-post widely with your own comments and artwork on blogs and social media.  You can see more of Mike’s work on Facebook at Shawna Tre (the name of his service dog).  Koester’s work also appears in an AAAS-PD volume,  Art Inspired by Science: Imaging the Natural World, by Robert Louis Chianese.  (Click on image below to purchase the book.)

Art & Science

 

 

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Coexistence.

lemanshots - Fine Pictures and Digital Art

Lemanshots_Rhino

Designed and created by Josephine R. Unglaub.

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Open Land Art & Fact Team: Interactive Installation at DePaul

DF.Mock_Up

Mock up of the Open Land Art & Fact Team (O.L.A.F.T.) installation

The DePaul Institute for Nature & Culture is delighted to announce the upcoming installation of a new work of art on DePaul’s Lincoln Park campus. Conceived by Chicago photographer Doug Fogelson, Openlands Artist-in-Residence 2015-16, and executed by Fogelson and the Open Land Art & Fact Team in collaboration with Openlands.org, O.L.A.F.T. will be installed at DePaul University in April, as an interactive workstation. In an initial proposal, Fogelson described the project as a “conceptual art intervention.” At this stage, the audience is integral to the work:

This is meant to be an interactive experience where participants are invited to read, inspect, and comment on the items in the shelves. The table has instructions with stickers and comment cards that participants can affix to the back of photographs in the bin and leave with the objects. Artifacts in [sealed] bags are assorted natural objects such as leaves or twigs and assorted refuse such as plastic packaging, [that] have been found in forest or prairie preserves. There are also white sheet printed documents with demographic and ecological information on the locations (Initial Proposal).

The installation will be hosted by DePaul’s John T. Richardson Library in conjunction with Earth Day programming and the April 19th visit to the University of New York Times best selling author, Jeff VanderMeer (McGowan South, Room 108, 6:30-8:30 pm). University leaders are delighted by the obvious topical connections between Fogeslon’s work and Vandermeer’s, as well as the aesthetic resonance of O.L.A.F.T. and VanderMeer’s Southern Reach Trilogy.

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Fogelson collaborated with a team of artists, over the course of a year, to photograph and creatively survey eight Openland sites. Faculty and students from all colleges, schools, and disciplines are invited to visit the installation, examine the maps, photographs, and artifacts, and add their responses to the project. By interacting with this installation/social experiment, faculty and students will contribute to “meaningful public conversation about the relationship between humans and the spaces we occupy,” in effect co-creating a regional research project and work of art (Open Land Art & Fact Team: O.L.A.F.T. Proposal).
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The installation will be located against the west wall on the second floor of the Richardson Library, near room 201, and will be accessible to faculty and students throughout the Spring semester.

More images here.

Lead Artist: Doug Fogelson
Installation: Open Land Art & Fact Team (O.L.A.F.T.)
Dates: April 1st – June 1st 2017.
Location: John T. Richardson Library,
2350 North Kenmore Avenue, Chicago, IL 60614,
Second Floor, west wall, near Room 201

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