The ancient aesthetics of yijing has played a crucial role in traditional Chinese philosophy, literature and art since the eighth century CE. Defined variously by early and contemporary writers, yijing links an artist's emotional domain to objects in the world. This article conceptualises yijing as an ecological aesthetics and distinguishes it from an environmental aesthetics. In particular, two aspects of yijing render it an eco-aesthetics: subject–object correspondence (or ‘engagement'); and empathic identification with the environment (or ‘bio-empathy'). Three brief case studies (...) from urban planning, environmental conservation and the creative arts demonstrate the contemporary importance of yijing to ecological issues. (shrink)

This is Not a Seminar is a multidisciplinary forum established in 2012 at Edith Cowan University in Australia to support practice-led and practice-based Higher Degree by Research students. The Faculty of Education and Arts at ECU includes cohorts of postgraduate research students in, for example, performance, design, writing and visual arts. We established the TINAS programme to assist postgraduate research students in connecting their creative practices to methodological, theoretical and conceptual approaches whilst fostering an atmosphere of rapport across creative disciplines. (...) The pilot programme conducted for six months in 2012 comprised dialogues with experienced creative researchers; critical reading sessions on practice-led theory; and workshops in journaling, ethics and copyright. This article is a reflection on the strengths and limitations of TINAS and future projections. More than an additional teaching and learning service, the programme has become a vital forum for creative dialogue. (shrink)

Since the eighteenth century, the study of plants has reflected an increasingly mechanized and technological view of the natural world that divides the humanities and the natual sciences. In broad terms, this article proposes a context for research into flora through an interrogation of existing literature addressing a rapprochement between ways to knowledge. The natureculture dichotomy, and more specifically the plant-to-human sensory disjunction, follows a parallel course of resolution to the schism between objective and subjective forms of knowledge. The foundations (...) of taxonomic botany, as well as the allied fields of environmental studies, ethnobotany and economic botany, are undergirded by universalizing, sensorylimited visual structuring of the natural world. As the study of everyday embodied interactions of humans with flora, expanding upon the lens of cultural ecology, "cultural botany" provides a transdisciplinary research approach. Alternate embodied cultural engagements with flora emerge through a syncretic fusion of diverse methodologies. (shrink)

Since European settlement, the Western calendar has insufficiently accounted for the seasonal nuances and multiple temporalities of Australia. Beginning with Tim Entwistle’s recent proposal to revise the four-season Australian norm, this article traces the emergence of the Western calendar in Europe and its institutionalization ‘Down Under.’ With its emphasis on land-based calendars, the Indigenous Weather Knowledge Project is a partnership between Aboriginal communities and the Bureau of Meteorology aimed at preserving and promoting knowledge of the endemic seasons of Australian regions. (...) As themost recent addition to the IWKP, the six-season Nyoongar calendar of the South-West of Western Australia is based on meteorological conditions, such as wind directions and temperatures, but also on the procurement of food, maintenance of cultural knowledge, and performance of ceremonies. Through the fusion of phenomenological and phenological approaches, the endemic seasons of Australia can be appreciated in their depth and extent. (shrink)

The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

Distinctive for its pungent and oftentimes rotten odor, the thorny fruit of durian (Durio spp.) is considered a delicacy throughout Asia. Despite its burgeoning global recognition, durian remains a fruit of contradiction—desirable to some yet repulsive to others. Although regarded commonly as immobile, mute, and insentient, plants such as durian communicate within their own bodies, between the same and different species, and between themselves and other life forms. As individuals and collectives, plants develop modes of language—or phytodialects—that are specific to (...) certain contexts. Focused on vegetal semiosis or sign processes, a phytosemiotic lens views plants as dynamic and expressive subjects positioned within lifeworlds. Absent from phytosemiotic theory, however, are the cultural sign processes that take place within and between plants—what I call cultural phytosemiotics. The framework I propose calls attention to the interlinked biological, ecological, and cultural dimensions of signification between plants and non-plants. From a phytosemiotic standpoint, this article examines historical, cinematographic, and literary narratives of durian. Reflecting the fruit’s divisive sensory effects, historical accounts of Durio by Niccolò de’ Conti, Jan Huyghen van Linschoten, Georg Eberhard Rumphius, and William Marsden alternate between praise and disdain. Moreover, films such as Fruit Chan’s Durian Durian (2000) and Anthony Chen’s Wet Season (2019) narrativize the polarities that similarly figure into historical depictions of the species. Literary narratives, including the poems “Durians” (2005) by Hsien Min Toh and “Hurling a Durian” (2013) by Sally Wen Mao, investigate the language of durian’s olfactory and gustatory sensations. Along a continuum between adoration to revulsion, durian embodies the otherness of vegetal being. In an era of rampant biodiversity loss, learning to embrace botanical difference should be a human imperative. (shrink)

Bearing witness is complex, and haunted by the past and the present. It takes place through and within a web of power relations attested by truth telling. This essay suggests that ghosts have the c...

Aratus’ Phaenomena calls upon its reader to scrutinize the letters of the text as carefully as the stars and constellations that form its subject matter. The poem abounds with clever letter-play and wordplay, and its reception too is characterized by verbal cleverness, as later authors vie with Aratus and one another to create ingenious textual effects. Among the best-known examples is the word ἄρρητον at Phaen. 2, a witty hidden sphragis for Aratus, who nowhere in his work directly names himself. (...) Later poets picked up on this pun: Callimachus speaks of the λεπταὶ ῥήσιες Ἀρήτου, repeating the verbal root of ἄρρητον in ῥήσιες and its sound in Ἀρήτου. Leonidas of Tarentum meanwhile rates Aratus ‘second after Zeus’, acknowledging the hidden sphragis, which follows directly after the invocation of Zeus in line 1 of the Phaenomena. (shrink)

In an era of climate change, deforestation, melting ice caps, poisoned environments, and species loss, many people are turning to the power of the arts and humanities for sustainable solutions to global ecological problems. Introduction to the Environmental Humanities offers a practical and accessible guide to this dynamic and interdisciplinary field. This book provides an overview of the Environmental Humanities' evolution from the activist movements of the early and mid-twentieth century to more recent debates over climate change, sustainability, energy policy, (...) and habitat degradation in the Anthropocene era. The text introduces readers to seminal writings, artworks, campaigns, and movements while demystifying important terms such as the Anthropocene, environmental justice, nature, ecosystem, ecology, posthuman, and non-human. Emerging theoretical areas such as critical animal and plant studies, gender and queer studies, Indigenous studies, and energy studies are also presented. Organized by discipline, the book explores the role that the arts and humanities play in the future of the planet. Including case studies, discussion questions, annotated bibliographies, and links to online resources, this book offers a comprehensive and engaging overview of the Environmental Humanities for introductory readers. For more advanced readers, it serves as a foundation for future study, projects, or professional development. (shrink)

How does anthoethnography contribute to the development of understandings of aesthetic experiences of wild plants and wildflower tourism? As exemplified by the quintessentially aesthetic industry of wildflower tourism, the culture of flora represents diverse engagements between people and plants. Such complex engagements offer further avenues for research. The critical methodology of anthoethnography has been one such approach to circumscribing the values, practices and rhetoric of wildflower tourism. Interviews have revealed perceptual phenomena such as the orchid and everlasting effects as two (...) counterpoised examples of the differences between visual aesthetic values occurring in the region. For appreciators such as Tinker, botanical science substantiates visual experience by showing the functional role of plants within habitats. However, the taxonomic eye is not the only judge of the value and significance of flowering plants. As underscored by Nannup, Aboriginal perspectives offer complex cultural modes of engagement and rich directions for wildflower tourism based in bodily experience. An anthoethnographic approach produces accounts of the spectrum of human perceptions of wildflowers in order to proffer potential directions for wildflower tourism of the future. Through a participatory aesthetics of flora in contemporary Australian landscapes, appreciative interactions with plants will occur not only through visual values, but also through the smell, taste, sound, or feel of plants and how one moves through communities of flora. Scientific knowledge can amplify visual and embodied modes. However, as an anthoethnographic lens has shown, wildflower tourism in the Southwest is weighted towards visual experience. Indeed, the history and contemporary practices of wildflower tourism encode ocular values that can posit a separation between post‐colonial cultures and native flora. A promising direction is towards participatory relationships beyond the aestheticisation of the surface qualities of flora and beyond the ‘conquest of the world as picture’. In an era of rapid species loss, wildflower tourism will increasingly embrace concepts of conservation, Aboriginal knowledges and the recognition of spiritual heritages, and the appreciation of plants beyond their visual impact. The expression of human sensory capacities for plants joined to an ethos of botanical conservation, drawing from scientific thought, can better ensure the longevity of flowers through the evolution of the culture of flora in the region. (shrink)

In his opening address, Dershowitz only dealt with the issue obliquely, and devoted most of his time to berating the Palestinians, Chomsky, and professors who criticize Israel, and challenged Chomsky to form an alliance with him to work for peace in the area-- a seemingly worthy proposal but totally off topic. Chomsky began by saying that the only thing Dershowitz said that he couldn't take issue with was that the two of them had once been in some summer camp together. (...) Chomsky then proceeded to provide background to the crisis and pointed out that the current Israel -USA policy and any proposal emanating from it would lead to only further disaster. The Palestinians are not prepared to accept a non-contiguous Bantustan "state" which is what is being offered. Instead he clearly stated that it was the Geneva Accord that provided a basis for meaningful future negotiations. Dershowitz, on the other hand, only at the end, when pressed on this matter, said that the new Sharon-Peres party would "offer" the Palestinians a "proposal"--which the Palestinians should not refuse! This was his answer to "where do we go from here." So much for substance by Dershowitz. Debate score? (shrink)

_Forest Family_ highlights the importance of old-growth forests to Australian art, community, culture, history, and politics. The volume will be of interest to general readers of environmental history, as well as scholars in critical plant studies and the environmental humanities.

The narratives of plants offered by science, history, poetry, mythology and direct personal experience are often thought to contradict one another and are thus held as separate. Like leaves of a tree, however, the posthumous botanical works of nineteenth-century American naturalist and philosopher Henry David Thoreau gather together the diverse stories that give meaning to plants. Drawing from the concept of multiple narrative streams as a method of writing natural history inspired by Thoreau, this article explores many accounts of the (...) flora of the biodiverse Southwest corner of Western Australia. Botanical science, Aboriginal spirituality, nature poetry and colonial histories offer versions that explain the natural histories of Southwest plants using different, though complementary, perspectives. The meandering together of narrative streams ensures the perpetuity of non-scientific stories and the potential for cross-pollination between disciplines and diverse ways of knowing the natural world. (shrink)