The authors examine the scientific possibility and the legal and ethical implications of using DNA forensic technology, through partial matches to DNA from crime scenes, to turn into suspects the relatives of people whose DNA profiles are in forensic databases.

Photographs and essays by leading authorities in the field provide diverse perspectives on the aesthetics of mountains and mountain climbing.

In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and (...) the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century, something that art educators and art theoreticians of the 21st century must take this into a serious consideration. (shrink)

Using mountain climbing as a metaphor for building meaningful relationships with others, the author examines such topics as risk, facing fears, trust, asking for support, and letting go.

In order to address sociological concerns with embodiment and learning, in this article we explore the ‘weathering’ body in a currently under-researched physical-cultural domain. Weather experiences, too, are under-explored in sociology, and here we examine in depth the lived experience of weather and, more specifically, ‘weather work’ and ‘weather learning’ in one of the most extreme and corporeally challenging environments on earth: high-altitude mountains. Drawing on a theoretical framework of phenomenological sociology, and an interview-based research project with 19 international, high-altitude (...) mountaineers, we investigate weather as lived and experienced both corporeally and cognitively. We are particularly interested in conceptualizing and theorizing the ways in which embodied beings relate to the environment through different aspects of their being. The novel concepts of ‘weather work’ and ‘weather learning’, we argue, provide salient examples of the mind-body-world nexus at work, as an embodied practice and mode of thinking, strongly contoured by the physical culture of high-altitude mountaineering. (shrink)

Do mountains exist? The answer to this question is surely: yes. In fact, ‘mountain’ is the example of a kind of geographic feature or thing most commonly cited by English speakers (Mark, et al., 1999; Smith and Mark 2001), and this result may hold across many languages and cultures. But whether they are considered as individuals (tokens) or as kinds (types), mountains do not exist in quite the same unequivocal sense as do such prototypical everyday objects as chairs or people.

I attempt to provide a new answer to the enduring question of why people take the acute risks of climbing mountains. In so doing, I aim to explain, but not necessarily justify, participation in suc...

Mountain Mandalas: Shugend? in Ky?sh?, by Allan G. Grapard. Bloomsbury. 2016. 320 pp. Hb. £90. ISBN–13: 9781474249003. Pb. £31. ISBN-13: 9781350044937. Ebook £34.54. ISBN-13: 9781474249027.

ABSTRACT Unverborgenheit is truth in Heidegger's Greek-inspired view that happens in Entbergen, or bringing forth. Technology is a way of bringing forth and the truths brought forth in ancient and contemporary science-based technologies are essentially different, the latter being destined by enframing or Gestell that is the essence of contemporary science and technology. Here I give an etymological-ecological-feminist interpretation to the essences of ancient and contemporary technologies as ontogeneses and their unconcealments. A turning point is also identified, on the basis (...) of Carolyn Merchant's eco-feminist account of the mental-spiritual change due to technical change of earth-bound practices, specifically mining, during the commercial revolution and the rise of contemporary science. As Heidegger's wording strongly hints to mountains as salvaging the not-yet-concealed, and human relation to mountains as finding the concealed, Merchant's account of the female nature, or Mother Earth, and male science as penetrating her dark plots for secrets to be exploited by humans, and its connection to mining practices, seems in some respects to clarify Heidegger's somewhat dark notions of unconcealment and truth. RESUMEN Unverborgenheit es la verdad en el pensamiento heideggeriano de inspiración griega, esto ocurre en el Entbergen, o desocultamiento. La tecnología es una forma de desocultar, y las verdades desocultadas por las tecnologías de base científica en la antigüedad y en la época contemporánea son esencialmente diferentes; la última estaría determinada por lo dispuesto, o Gestell, que sería la esencia de la ciencia y tecnología contemporáneas. En este texto presento una interpretación etimológico-ecológico-feminista de las esencias de la tecnología antigua y contemporánea como ontogénesis y sus desvelamientos. También se puede apreciar un punto crucial en la aproximación eco-feminista de Carolyn Merchant al cambio mental-espiritual debido al cambio tecnológico de las prácticas ligadas a la tierra, en especial la minería, durante la revolución comercial y el surgir de la ciencia contemporánea. Como la terminología de Heidegger sugiere fuertemente a las montañas como salvando lo todavía no oculto, y a las relaciones humanas con las montañas como encontrar lo oculto, el enfoque de Merchant sobre la naturaleza mujer, o Madre Tierra, y la ciencia masculina que penetra en sus oscuras parcelas en busca de secretos para ser explotados por la humanidad, y su conexión con las prácticas mineras, parece clarificar en ciertos aspectos las oscuras nociones heideggerianas de desvelamiento y verdad. (shrink)

Like the concept of the assemblage, the body without organs is much written about, but unlike the assemblage there are no specific schools of thought associated with the body without organs, much less any agreed definitions. As such, it tends to be used in a very vague manner, with most accounts of it ignoring its practical dimension and instead focusing on its aesthetic (Artaud) and philosophical (Spinoza) origins. However, Deleuze quite explicitly positions the assemblage as a contribution to an understanding (...) of behaviour, so the purely philosophical accounts of the body without organs that give no account of how it can be used analytically are not helpful in my view. I demonstrate that the practical conception of the body without organs is an effective way of understanding the concept. I use the example of George Mallory’s attempt to climb Everest to illustrate this point. I argue that if we focus only on the symbolic attainment of being the first person to climb the world’s tallest mountain and consign the actual act of climbing to the realm of mere entry price, then we effectively destroy the assemblage by rendering it teleological. Now, one might think that this means one should balance the equation by focusing on the bodily dimension of the climb, and certainly that is the direction we need to take, but to do that we need to conceive of a space where that physical dimension can be registered in something other than purely biological terms. If, as Spinoza and after him Deleuze have argued, we do not know what a body can do, it is because we do not have the conceptual means of capturing and expressing its capabilities. We can record its achievements, but we cannot map its capabilities because the body seems always to be capable of doing more than anyone thought possible. Until 1953 when Hillary and Norgay reached the peak of Everest climbing Everest was generally regarded as impossible. A view that was reinforced by the dozen or so failed attempts, not to mention the many deaths occasioned by those attempts, that preceded Hillary and Norgay’ success. This is why Mallory’s insouciance in 1923 was so captivating. His answer ‘because it’s there’ shrugged off the one thing that was standing in the way of the conquest of the peak, the conviction that it was impossible. It also explains why his answer passed into history. (shrink)

The article discusses the genealogy of 20th-century Norwegian ecophilosophies as deriving from a specific philosophy of climbing, one which is irreducible to philosophy of alpinism so far as it is based on the principle of cooperation and on the intrinsic value of interacting with the mountain rather than on competition, which makes the mountain an arena for sport activities. In this context, the expression to think like a mountain will be analyzed as something more than an impressive metaphor, and examined (...) as a new way of thinking that avoids the extremes of both radical anthropocentrism and biocentrism. (shrink)

This chapter contains sections titled: The Free‐Rider Problem The Sorites Paradox So, is it Rational for Me to Contribute by Not Climbing? Concluding Remarks and Implications Notes.

Black Mountain College is remembered as an artistic utopian alternative to institutional learning. Its faculty and students included some of the most important creative thinkers of the 20th century. Its foundation was built on the philosophy of “learning by doing.” But what made Black Mountain such a dynamic educational environment? Today, the financial burden of higher education places a lasting strain on students that inhibits creative growth. Does the educational structure of the college system impede our learning? Black Mountain was (...) a legendary educational experiment, which offers a model for contemporary art education. (shrink)

This book uses the analogy of three mountains on the horizon that must be traveled in order to explore ethics in relation to student affairs. It contends there are three major approaches to ethics that represent three major approaches to the moral life: (1) principles-based; (2) case-based; and (3) virtues-based. In order to facilitate a person's experiences in using these approaches, an overview is presented, with an assessment of the strengths and weaknesses of the approaches. The chapters refer to an (...) extended case encapsulating the events of a real situation. Chapter One discusses several major approaches to ethics and student affairs administration. Chapter Two presents a single case in depth. In Chapter Three, a summary of major principles-based approaches to ethics is presented. Chapter Four explains the case-based approach to ethics, and how the guiding rules emerge from the facts of the case itself. Another approach to ethics, the virtues-based approach is discussed in Chapter Five. In the virtues-based approach a person asks "What would be correct for me to do in light of my moral character?" The book concludes with Chapter Six, which presents ethics of responsibility as one way to synthesize the various approaches to ethics. The ethics of responsibility draws on the three ethics methods previously discussed, the expressive-collaborative approach, and the contributions of feminism. This information is presented to help people identify which approaches to ethics reflect their personal values, and to articulate the reasons behind this affinity. (Contains 128 references.) (JDM). (shrink)

Mountains have gained global recognition for their sacredness and biodiversity. Over the years, scientists, researchers, local bodies and states have made efforts to protect and preserve the mountains. Perrigo, Hoorn and Antonelli call them the cradles of diversity, which need to be studied in order to understand nature and mountain biodiversity. (2019). The growing work on the mountains can be located in the awakening of earth consciousness in the world. Earth consciousness or what may also be called the universal respect (...) for nature and all of its forms is manifesting in different ways. The multidisciplinary approaches that build the idea of earth consciousness have added much weight to the end outcomes in the forms of frameworks for protection and preservation. One can see an influence of cultural, ethical, legal, philosophical, religious, and spiritual perspectives in the realization of a deep and meaningful relationship between humans with nature. (shrink)

This chapter contains sections titled: What is Self‐Sufficiency? The Value of Self‐Sufficiency Objections Concluding Remarks Notes.

The insight that scientific theories are “practice-laden” has animated scholarship in the history of science for nearly three decades. This article examines a style of geographical thought that was, I argue, movement-laden. The thought-style in question has been described as a “vertical consciousness that engulfed science in the early nineteenth century,” and is closely associated with the geographical vision of Alexander von Humboldt (1769–1859). Humboldt’s science spanned nature’s horizontal and vertical axes, from Saxon mines to Andean summits, and from the (...) currents of the ocean to those of the aerial ocean. In probing the origins of Humboldt’s vertical thinking, this article opens up a broader history about the industrial practices and travel cultures that originally animated it. Humboldt’s “global physics” first emerged within a context of vertical travel, up mountains and into mines and caverns. Rhythms of the body—lethal for some, “sublime” for others—became rhythms of the mind. A view of nature as set of vertically complementary spaces rippled through mining culture, Romantic art, and the geographical sciences. To trace the earliest routes of Humboldt’s science is to acknowledge the many actors—some celebrated, most unsung—who took part in the making of a vertical consciousness. (shrink)

Dirt is evoked to signify many important facets of mountain bike culture including its emergence, history and everyday forms of practice and affect. These significations are also drawn upon to frame the sport's (sub)cultural and counter-ideological affiliations. In this article we examine how both the practice of mountain biking and, specifically, mountain bike trail building, raises questions over the object and latent function of dirt, hinting at the way that abjection can, under certain circumstances, be a source of intrigue and (...) pleasure. In doing so, we suggest a re-symbolization of our relationship with dirt via a consideration of the terrestrial. (shrink)

Come along with David Hinton on a series of walks through the wild beauty of Hunger Mountain, near his home in Vermont—excursions informed by the worldview he's imbibed from his many years translating the classics of Chinese poetry and ...

Those residing in the Rocky Mountains enjoy both nature and culture in ways not characteristic of many inhabited landscapes. Landscapes elsewhere in the United States and in Europe involve a nature-culture synthesis. An original nature, once encountered by settlers, has been transformed by a dominating culture, and on the resulting landscape, there is little experience of primordial nature. On Rocky Mountain landscapes, the model is an ellipse with two foci. Much of the landscape is in synthesis, but there is much (...) landscape where the principal determinant remains spontaneous nature, contrasted with the developed, rebuilt landscape in which the principal determinant is culture. Life in the Rockies permits both use and admiration of nature, with constant reminders that the human scale of values is rather tentatively localized in a more comprehensive environment. (shrink)

In this essay I hope to make some new contributions to the philosophical opening occasioned by John Sallis’ articulation of an “elementology” more broadly and by his turn to Guo Xi’s exquisite Song Dynasty shan-shui scroll painting, Early Spring more particularly. I do so by bringing the remarkable writings by the American poet and thinker Gary Snyder, especially in relationship to his reading of the great Kamakura Zen Master Eihei Dōgen, directly into the fray of contemporary Continental discourses on the (...) elemental and the ecological. At the heart of this project is Snyder’s development of Dōgen’s elemental discourse of “mountains, rivers, and the great earth.” Like Sallis’ own efforts to recast language into a more elemental discourse, this essay will also focus on the manners of speaking specific to the philosophical and poetic self-presentation of the elements, including the relationship between the philosophical and the artistic as such. (shrink)

Upon the release of Brokeback Mountain, the conservative film critic, Michael Medved, in a television interview, predicted that a gay western – or maybe he called it a gay cowboy movie – would not attract an audience, presumably on grounds that the intersection of the audience for gay movies and the audience for westerns would yield, as the logicians say, the null set. Medved was proven wrong, as Brokeback, which cost $14 million to produce, went on to earn $83 million (...) on first release in the United States (plus $95 million abroad). But Medved was also wrong in his initial description. Although rodeos, horses, and cattle percolate through the film, Brokeback does not fit the classic American Western movie storyline. From the films of William S. Hart and Tom Mix down through Gary Cooper in The Virginian and High Noon, John Wayne in Stagecoach, Alan Ladd in Shane, and Clint Eastwood in The Unforgiven, the Western hero wears a cowboy hat, rides a horse, and carries a gun. His ultimate goal is to save the good folks from the bad guys, and he always succeeds. Brokeback, of course, is not like these films at all. Jack Twist and Ennis Del Mar are not engaged in the Westerner’s project of vanquishing evil. In fact, Ang Lee’s film more closely resembles the stories of such star-crossed lovers as Abelard and Heloise, Tristan and Isolde, and Romeo and Juliet. More interestingly, it fits a narrative pattern common in the nineteenth-century operas of Bellini, Donizetti, Verdi, and Wagner. In.. (shrink)

Those residing in the Rocky Mountains enjoy both nature and culture in ways not characteristic of many inhabited landscapes. Landscapes elsewhere in the United States and in Europe involve a nature-culture synthesis. An original nature, once encountered by settlers, has been transformed by a dominating culture, and on the resulting landscape, there is little experience of primordial nature. On Rocky Mountain landscapes, the model is an ellipse with two foci. Much of the landscape is in synthesis, but there is much (...) landscape where the principal determinant remains spontaneous nature, contrasted with the developed, rebuilt landscape in which the principal determinant is culture. Life in the Rockies permits both use and admiration of nature (fruited plains), with constant reminders (mountain majesties) that the human scale of values is rather tentatively localized in a more comprehensive environment. (shrink)

This note points out a conflict between some common intuitions about metaphysical possibility. On the one hand, it is appealing to deny that there are robust counterfactuals about how various physically impossible substances would interact with the matter that exists at our world. On the other hand, our intuitions about how concepts like MOUNTAIN apply at other metaphysically possible worlds seem to presuppose facts about ‘solidity’ which cash out in terms of these counterfactuals. I consider several simple attempts to resolve (...) this conflict and note they all fall short. (shrink)

By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. (...) A Chinese painter-poet within the ‘mountain-water’ genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music. (shrink)

Like other aspiring geologists in the 1830s, Darwin focused heavily on the rising and falling of the earth's crust. I use his time in the Andes to underscore the importance he placed on larger questions of vertical movement, which mountains helped to solidify in his mind. His most impressive ramblings occurred in 1835 on two high passes in the Andes. Prior to his upland journey, he was well prepared to see the gradual movement of the earth's crust, but his time (...) in the mountains honed his vertical vision. His actual travels up and over enabled him to think more clearly about rise and fall, and how corresponding geographies could link the past to the present. Mountains were instructive backdrops to his theorizing, partly because he traveled through them, but also because his time there, linked with other geographies, became a means to foster his thinking both spatially and temporally. He did not think about mountains, but with them and through them. He is a good example of the broader vertical consciousness that directed many sciences at this time. (shrink)

This study analysed mountain guides’ representations of environmental responsibility and explored the paradox that these professionals face: using nature as a source of income while trying to preserve it. The study was mainly guided by the philosophical literature on this topic and made use of the concepts of sustainable development and nature. This exploratory work therefore contributes to the new field of environmental social psychology. Semi-structured interviews were conducted and the qualitative analysis showed that mountain guides have a very sensitive (...) and contemplative approach to moral aspects of our relationship with nature, which they try to transmit to their clients. They believe that this is a way to educate people about sustainable development, but this term emerged as quite vague for them, and they expressed the opinion that it might hide other concerns, such as to make translating it into moral conduct a difficult matter and to compromise their identity as moral actors. (shrink)

Part One addresses the question whether the fact that some persons love something, worship it, or deeply care about it, can endow moral status on that thing. I argue that the answer is “no.” While some cases lend great plausibility to the view that love or worship can endow moral status, there are other cases in which love or worship clearly fails to endow moral status. Furthermore, there is no principled way to distinguish these two types of cases, so we (...) must conclude that love or worship never endow moral status. Part Two takes up the hard question of why we have to be careful of things that others love or worship, given that the things do not thereby have moral status. I argue that it is sometimes bad for those who love or worship the things if we mistreat them. I develop an account of when love and worship, and person projects more generally, succeed in expanding the scope of what counts as good or bad for the person engaged in the project. (shrink)

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists intervened, (...) using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

I examine Amie Thomasson’s account of the metaphysics of mountains and their boundaries, from her “Geographic Objects and the Science of Geography.” I begin by laying out a puzzle about mountains that generates some pressure towards accepting that we are somehow responsible for their having the boundaries that they do. As a foil for Thomasson’s own account, I present two competing theories of geographic objects—one on which they are thoroughly mind-dependent, and one on which they are thoroughly mind-independent—neither of which (...) yields a fully satisfying solution to the puzzle. I then turn to Thomasson’s intriguing suggestion that, although the geographic objects themselves are mind-independent, the boundaries of those objects are not. Finally, I examine whether Thomasson’s account is equipped to solve the puzzle, and I explore how her account interacts with her plenitudinous ontology. (shrink)

"Deborah McCauley and Laura Porter's text combines descriptions of the pictures with the history of the churches and interviews with members. They create a representative window into the material and oral culture of central Appalachia's independent Holiness heritage. Mountain Holiness is a book that will fascinate anyone who cares about these traditions, as well as anyone concerned with the preservation of America's most vital folkways."--BOOK JACKET.

This paper is about the use of analogical reasoning, models and metaphors in Galileo's discovery of the mountains of the moon, which he describes in the Starry Messenger, a short but groundbreaking treatise published in 1610. On the basis of the observations of the Moon he has made with the newly invented telescope, Galileo shows that the Moon has mountains and that therefore it shares the same solid, opaque and rugged nature of the Earth. I will first reconstruct Galileo's reasoning, (...) and illustrate the counterintuitive and quasi-circular way in which discovery depends on analogy: in order for analogical reasoning to succeed in bridging ontological gaps and thus serve as a discovery tool, a certain similarity between what are considered as radically different domains has to be presupposed. More particularly, in order for analogical reasoning to lead to genuine discoveries, salient features have to be selected in the source domain that will be mapped onto the target domain. There is disagreement as to how this mapping is successfully carried out: the syntactical, pragmatic and ontological-categorical approaches, all illuminate some features of this selection in the mapping process. On the basis of an analysis of Galileo's discovery, I will argue that we need a different "bootstrapping" approach which involves the construction of an imaginary temporary model encompassing both the source and the target domains, and which is occasionally strengthened by metaphors which serve as incomplete transitional models. (shrink)

Opening a Mountain: Koans of the Zen Masters. Steven Heine. Oxford University Press, New York and Oxford 2001. xiv, 200 pp. £18.99. ISBN 019 513 586 5.

Volume 19, Issue 6, June 2019, Page 64-66.

In lieu of an abstract, here is a brief excerpt of the content:Breathing with Mountains1Paul A. Harris (bio)For Sydney Levy, who brought me on board.Geologic AspirationsStone breathes within nature's time cycle…. It begins before you and continues through you and goes on. Working with stone is not resisting time but touching it.—Isamu NoguchiUnder the suffocating circumstances of lockdown, COVID conditions inevitably wafted their way into the stoned thinking of Pierre Jardin.2 The pandemic atmosphere made air apparent, and breathing became personal, (...) political, and planetary. People sought perspective in sometimes surprising ways. While many turned to the Stoics, Jardin turned to stone. Suspending his disbelief in "The Hammock of Relaxation" (fig. 1), Jardin stretched his imagination, and set himself adrift in diffuse reveries of rocky respiration. Click for larger view View full resolutionFigure 1.The Hammock of Relaxation. Pebble on book cover.Photo by author.Jardin composes a life centered in absorbing stone(s), encompassing both a physical process of soaking in a substance slowly and psychological experience of becoming engrossed in it. He feels alive with stone and stone alive in him; literally and metaphorically, he has spent hours looking at stone, listening to stone, and touching/being touched by stone. But he had never seriously considered breathing stone. Immediately, a slew of questions arose: Do rocks breathe? Do mountains? Does the Earth? What would it mean to breathe with a stone, or with the planet? Jardin's pursuit of lithic and lithospheric respirations came to comprise his geologic aspirations, which are set out here. [End Page 261]Aerial ImaginationPierre Jardin's geologic aspirations took inspiration from Gaston Bachelard's aerial imagination, as described in Air and Dreams. Accepting Bachelard's invitation to "listen to nothing but our own breathing…, to become as aerial as our breath…" (Bachelard, Air 241), Jardin set about inventing a regimen of contemplative breathing exercises. To do so, he took up what Bachelard terms the "search for a thought hidden under expressive sedimen,ts, [in which] a geology of silence is developed" (Bachelard Air, 251). The question was, what "expressive sediments" should Jardin mine in this quixotic quest? What materials and mental modalities would precipitate a "geology of silence"?In order to meld minds with Bachelard, Jardin placed a pebble on Robert Lapoujade's pencil portrait that graces the book's cover (fig. 2). The results were alchemical: the cobble transmuted into a philosopher's stone, opening Bachelard's third eye; the rock launched a basalt on Jardin's senses that produced an "intoxication of aerial imagination raised to its cosmic role" (Bachelard, Air 241). A gesture as simple as placing a rock on a book crystallized new quartz-veins of thought. What follows are Jardin's experiments with a variety of "expressive sediments," a series of multi-scalar meditations and various instantiations of lithic respiration. Click for larger view View full resolutionFigure 2.Aerial Basalt on the Senses. Pebble on book cover.Photo by author.Atmospheric CompositionsPierre Jardin's geologic aspirations began with a Composition of Place, a meditative technique deployed in the Spiritual Exercises of Ignatius of Loyola. Loyola stipulates that "for contemplation or meditation about visible things… the 'composition' will consist in seeing through the gaze of the imagination the material place where the object I want to contemplate is situated" (Ganss 47). Taking "Breathing with Mountains" as the "object" of contemplation stretches Jardin's imagination to a geologic scale; its "material place" is the Earth's atmosphere, or more specifically, its lowest layer, the troposphere. [End Page 262]To facilitate his meditation, Jardin scales Earth down to a stunning serpentine stone, which he has mounted like a globe. Holding the stone and breathing slowly, Jardin can visualize the troposphere as the thinnest of films on the rock's surface. In his active imagination, the bumps, furrows, and ridges in the rough rock texture evoke the constant crumpling of the lithosphere caused by drifting and crashing tectonic plates.With the stone standing in for Earth, Jardin suddenly becomes a geologic giant representing Anthropocene humanity. As his exhalations cloud the stone, Jardin considers how Anthropogenic expirations are changing the composition of the Earth's atmosphere. An index of human impact is provided... (shrink)

The impact of _Harukanaru Sanga ni_ upon its publication in 1947 was immediate and dramatic- -the impetus, many have argued, for a post-war peace movement in Japan that has lasted over half a century. Now the text is available for the first time in English as _In the Far Away Mountains and Rivers_, a heart-wrenching and thought-provoking collection of letters, journal entries, and essays written by University of Tokyo students as they were drafted to fight in World War II. Many (...) of these students faced certain death as pilots in the kamikaze squads. Many of them deplored the war, and many were simply motivated by a sense of duty to their families and their country. They turned to poetry, philosophy, and religion—all in an attempt to make sense of the universal tragedy of war. (shrink)