Art in the Anthropocene: Encounters among Aesthetics, by Heather Davis, Etienne Turpin (eds.)

By Heather Davis, Etienne Turpin (eds.)

Taking as its premise that the proposed geologic epoch of the Anthropocene is inevitably a classy occasion, this booklet explores the connection among modern paintings and data creation in an period of ecological predicament, with contributions from artists, curators, theorists and activists. members comprise Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura corridor, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomás Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Zoe Todd, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow.

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You can help scientists attune to many of the features that they usually do unconsciously, or unwittingly, in their prose. We have a case that interests us a lot here about ants. Because ants and ANT (Actor Network Theory) are very related, we are always interested in ants. If you look at research about ants, many people would say that ants are not directed by any sort of superior entity—the organicist version—and that it is only “individual” ants that do the acting. But, we in the humanities are trained to be attentive to the dozens of cases where, in the texts of the same scientists who say we have abandoned the idea of a super organism, in fact, ants appear as a character, an actant, they are doing the job of a society, of a big organism, precisely what was not supposed to be there.

Indeed, where some might hope to amplify the inherent contradiction between economic growth and sustainability, in Singapore this distinction is erased. Here more sustainability means more growth; and this manifests as a kind of growth with unsustainable effects. Fig. 03 Edenic Apocalypse | Natasha Myers 33 Fig. 04 34 I enter The Cloud Forest, an ecological simulation of epic proportions. Moist, cooling air licks at my skin, which is still radiating heat from the sun on this 34°C day. A forty-two metre mountain covered in lush vegetation sweeps my gaze upward.

Fig. 03 Edenic Apocalypse | Natasha Myers 33 Fig. 04 34 I enter The Cloud Forest, an ecological simulation of epic proportions. Moist, cooling air licks at my skin, which is still radiating heat from the sun on this 34°C day. A forty-two metre mountain covered in lush vegetation sweeps my gaze upward. The spectacle is overwhelming. I can barely take it all in. That is until my eyes lock in on a body tethered to a long rope and swinging through the mist. A man reaches out and pulls himself across this lush wall, plucking errant leaves and shoots and stuffing them into a sack.

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