That's All Folks? Eco Critical Readings of American
xtro realm / Climate Imaginary Reader
Contemplations of nature continue to exist dominated by "factfulness-organizing" Western notions of modernity – in other words, scientificity, infinite evolution and commercialism's unrelenting urge to abound. Equally nature takes form in the Enlightenment's worldview and becomes the culturally passive subject of humankind'south actions, it is relegated to providing data for human knowledge, resources for the economy, and aesthetic services for the consumer. These notions permit the states to unpack the social and climate imaginaries in relation to nature equally well as the climate and ecological crises, respectively. The concept of a landscape is a symptomatic domain where these relations intersect, equally a European person's relation to nature tin be traced through how their interpretation of a landscape is synthetic.
Contemporary ecological thought emphasizes the reciprocal interlacement of actors within an ecosystem in which nature forms a relationship with culture and these mutually shape the life of the Earth. Ecocriticism 1 scrutinizes the interoperability and interaction of these spheres in a transdisciplinary manner: what humans remember of nature, with what forms of activity we grade links to it, and how this is reflected in the way it is discussed. Furthermore, an ecocritical assessment offers insight into our modes of social organization based on the image we agree of nature. We need to rethink the concept of nature as determined by modernism to face the ecological and climate catastrophe. Taking an ecocritical arroyo in assessing the mural surrounding us tin provide reference points to this end.
"The world is made for man, not homo for the world" 2
Organicism, prevalent until the 16th century, imagined the parts of the torso, the self, the community, the state, and the creation as a cooperative, closely-knit organism reliant on reciprocity three . This is where ecological thought's central tenet originates, as does its focus on networks. On the one hand, (Mother) nature takes care of the World and the humans within by nourishing and accommodating. On the other manus, it manifests the looming threat towering over everything else, conveying its anger (if necessary) through natural disasters, for instance. Deity'due south extensive will has been at the centre of Judeo-Christian thought in the form of natural laws four . The will of God as manifest in nature has provided an instance and normative lawmaking for guild. Information technology is no coincidence that far-right ideologies continue to refer to the deterministic laws of nature as unquestionable truths, v especially in cases of exclusion based on othering 6 . The scientific discoveries of the Enlightenment, the abandonment of the geocentric model, 7 the mechanistic worldview viii and, later, Cartesian philosophy ix all shaped the emergence of a novel view of nature during the 17th and 18th centuries. The scientific revolution changed the organicist understanding of nature – emphasizing its ability to nourish – into an interpretation enabling its exploitation. Nature'southward wildness provided the symbolic legitimation for alterations, 10 peaking in the geoengineering projects of ecomodernism which insist on the harmlessness of technological innovation. Modern human could get an almighty deity in the world that he envisioned. In the name of endless development and aggregating, mankind consumes a subordinated nature as well as the reproductive forces of life and humanity eleven (including women, indigenous groups, minorities, and indigenous nations, to which Ariel Salleh collectively refers as a metaindustrial class). This act of growth paired with exploitation, however, entirely neglects the regenerative cycles of nature and the depletable nature of materiality 12 .
An organicist vision of nature which relied on the premodern analogic (networked) way of thinking shifted to a mechanistic vision, a deductive methodology where complex observations were cleaved down into independent components – erecting boundaries based on processes and disciplines – whose causal relations were assessed by an (objective) heed. According to this approach, the external globe, besides as the human body, is a motorcar that operates in a clockwork-like mode – something that is illustrated by the principles and practices upheld by modern medicine, for example. Dualisms such every bit mind and torso, private and order, and human and nature shape the way the world is interpreted, substituting the analogic reasoning which emphasizes connections. Faith in this form of scientific knowledge which continues to be the dominant paradigm is rooted in Cartesian philosophy and the worldview that has adult from information technology. The historiography of natural sciences has taken over the role of the philosophy of nature. Gathered knowledge about nature has provided the necessary momentum for the mod projection of conquering the universe.Initially, the Enlightenment's mechanistic worldview was the object of abstract philosophical speculation, merely it subsequently came to be embodied in scientific programs and consummated in the modernistic social relations which were configured by the industrial and bourgeois revolutions. The new course of order and the economical arrangement that emerged based its thought of freedom on the exploitation of nature, labor, and women. Exploitation – based on the othering of nature – is also the precondition for human being liberty likewise: "[…] man freedom is existentially [connected to] the metropolis, guild, scientific discipline and piece of work, for by this liberty man is finally freed from the ability of nature and as an object he tin use and subjugate it." 13
The Landscape as Instant Nature
The social construction of a landscape indirectly reflects the totality of our ideas regarding the not-human world. If nosotros unpack how these perspectives are synthetic we tin unveil a reflection of prevalent social relations. A landscape is more than a slice of nature. It is a fashion of experiencing the external world as determined by its historical setting and the effect that modernist ideology weighs on its viewer. A landscape reflects how certain social classes define themselves via their relation to nature and how they communicate their part in the external natural and social environment 14 . It presents and represents the natural and socio-cultural factors that have shaped the given infinite xv . A landscape is therefore a social product, the historiography of which is disclosable. It is not untouched nature free from human intervention, a perspective with which it is often confused.
The Claude mirror was the Instagram filter of the 18th century. The reflection of the landscape is composed in the tiny black mirror, taking on dark green hues, comfortable for an English person'due south eyes. Information technology was typical of a Claude Lorraine as one turns their back to the scape.
1. Claude Lorrain mirror in a fish leather instance, unknown creator, Europe, 1801-1820. Science Museum Group Collection. London © The Board of Trustees of the Scientific discipline Museum.
2. William Gilpin: Tintern Abbey. Reproduction from the Observations on the River Wye, and Several Parts of South Wales, &c, relative chiefly to picturesque dazzler publication, created during the summer of 1770. London: R. Blamire-nek nyomtatva, 1792. Source: https://deepblue.lib.umich.edu/bitstream/handle/2027.42/144575/mirror.html
The visual representation of a landscape, defined past the dualities of subjective-objective, inner-outer, society-individual, etc., since its onset, can have an even more limited meaning if we consider the historical categories of beauty, majesty, and picturesqueness in the mural painting of the eighteenthursday century. A mural is, however, non limited to the painted moving-picture show but incorporates perception and mental framing, just as an individual's site molds a given slice of the World into a single entity, carrying information technology to their consciousness (meet: Szép kilátás!) xvi . The observations of an individual presuppose an external position – retrieve of the single vanishing signal in a key perspective 17 from which all lines lead into infinity – establishing emotional and artful altitude likewise as the command that impede one'due south power to heighten moral and applied considerations when contemplating. The creative person within the spectator is the subject of the landscape; they take total control over the object, a position unperturbed past the collective socio-historical experience or the bureau of nature and of those inside the mural. Through this act of contemplation, the private transposes their objectified and ideology-driven vision of nature onto the mural, turning it into nature'southward dominant reality eighteen .
The modern eye has been trained to disassemble one totally from nature, enabling the exclusive dominance of scientific discipline'south objective, rational, mechanistic, and classification-oriented methods 19 . The individual detaches from the landscape; humanity detaches from nature. On the other paw, for those in the mural – frequently laboring – nature is not objectified or detached; information technology does not take the form of a mural (or its image) since it is non simply the background to their lives but something that shapes their existence. For those in the landscape, information technology is non the space where their struggles and victories (that is, their lives) take place, but the screen that hides these from the spectators.
Peasants' cooperative use of state, designed to be self-sustainable during feudalism, was substituted by capitalism'due south objective to subjugate production for the accumulation of profits. This paved the way for the wider transformation and devastation of the environment, recursively shaping the epitome of nature. The environs-destroying industrialisation of agriculture was perfected through the export of the Greenish Revolution from central to peripheral countries, 20 commencement in the 1960s and1970s. Nonetheless, the value of land in capitalism is not only based on the quality of production it enables, but the exchange value it represents as property (see, for example, the normative expanse-based system of the unjust and environmentally subversive distribution of European union agricultural subsidies).
Photography played a cardinal office in the landscape becoming a commodity which tin be possessed. Landscape photography initially sought to accomplish the objectives divers by landscape painting, namely to eliminate distortions that interfered with the linear central perspective of the lens' image-creating process. Landscape photography thus consolidated the original ambitions of mural painting: the neutrality of technology immune one to prove an empirical and scientific picture of an externalised, objective outer globe. The overwhelming number of images produced by growing tourism has contributed to one'southward ability to search for interconnections. This is something that Susan Sontag had already written well-nigh in 1977, before the abundance of digital images. She argued that photography certifies feel at the cost the experience being degraded to a picture, a gift. Photography alleviates the feeling of lostness which accompanies travel, domesticating it, 21 since it turns an encounter with the unknown into a framed object of an external perspective. The landscape frequently reinforces our stereotypes: consider the prototype of a giraffe or a baobab in front end of a setting sun which has most usually illustrated the African continent in mainstream civilization. What traditions and objectives lurk behind these modes of depiction and how can we share more circuitous and true stories about landscapes and nature?
The Ecocritical Lens through Hungarian Examples
I organised three field trips to explore how to implement ecocriticism in practice as a part of the xtro realm 22 outcome series during the spring of 2018. We visited different landscapes which embodied various powerful forms of homo-led transformation. Based on these, we could discuss dominant images of nature held by guild. I relied on the methodology of ecocriticism, which explores the presence of culturally inscribed topoi primarily manifest in cultural products merely representative of deeper structures 23 .
Gánt – an Apocalyptic Martian Mural
The mine in Gánt had played a substantial office in global bauxite product but its activities were suspended nigh 30 years ago. One of the open pits of the mine was left intact and visitors tin study ancient karst on a nature trail and explore the surreptitious museum. Reverse the latter, on the other side of Bányatelep Street, the waste material-heap is one of xv 1000 landscape scars in Hungary which have resulted from mining or other forms of anthropogenic intervention in the landscape. Cheers to the recultivation of the mine, the granular pulverized rock has formed into unique, gravitating hills with wavy surfaces, which vegetation (and off-road motorcyclists) is starting time to reclaim with mixed results. A braggadocio media continuously compares the strip mine at Gánt to a Mars landscape. To further support this absurd comparing, the mine pit of Gánt was used by developers of the Hunveyor-4 infinite probe launched for Mars to provide an artful background for their test runs.
The about powerful principal-metaphor infecting thinking about the environment and actions taken in its defense force is the apocalyptic topos linked to its pollution and destruction 24 . Humans have always fantasized virtually the cease of the earth and the extinction of our species – an important legacy of the Judeo-Christian tradition. The narrative of apocalypse has, however, get environmental protection'southward chief-metaphor, because it tends to overly emphasize the absolute bear upon of toxic pollution. For example, in Rachel Carson'south Silent Spring, she illustrates the affect of carcinogenic Ddt pollution through an epitome of leap without the chirping of a single bird 25 . Therefore, the apocalyptic dystopia conveys fatal agony, irreversible alter. Aestheticized images of such destruction accept likewise get the objects of fine art 26 . Wandering between the red hills of Gánt, it is clear that we are seeing the strongest example of how nature is exploited but nosotros still experience a feeling of guilty grandiosity. This field trip to a postal service-apocalyptic landscape prompted participants to generate a number of Instagram posts with which – to invoke Sontag – they involuntarily sought to defend themselves confronting their mixed feelings in response to their loss of control over nature.
In Edmund Burke'due south clarification, sublime means the incomprehensible, frightening, and beautiful totality of an unexpected, infinite, and thrilling nature 27 . The sublime of Romanticism is thus the continued beingness of godly forces in (an untouched) nature which, through the metaphysical, affects the emotions of the spectator. When the economic system substituted nature, the Romantics invented the idea of an untouched, wild nature as the last resort for a morality based on unalienable labor in a capitalist world (see, for case, Thoreau's attempt to escape to Walden). The idea of wilderness surfaced as a critique of the industrial revolution, but this deed has go an exodus from the exploration of causes and societal relevance under the slogan of "back to nature", thereby externalizing morality.
It is an unusual twist that the grandiosity of the Gánt landscape is a upshot of the total devastation of nature, the extermination of life. Turner, the Romantic painter from the beginning of Industrialism, could see and depict the new towns of the industrial revolution as sublime, similarly to how the supranatural refractions of low-cal due to smog above the River Thames in London left Claude Monet nonplussed and led him to return for three years and paint more than one hundred paintings of the Victorian "fog". The grandiosity of devastation has become a new sort of article in the historic period of 21st century greenwashing (see, for example, designer Stella McCartney's campaign). The toxic sublime refers to how photography, moving picture, and other artistic media attempt to convey environmental problems from a very strong aesthetic position. This prevents the infinite from influencing moral, political, consumerist, and personal identities; thus, its ability to mobilize dissipates 28 .
Media convey the threat of ecological and climate crisis as an emotionally charged apocalyptic catastrophe, leading to the polarized reception of news, and prompting a strong denial from sceptics. Fine fine art also continuously aestheticizes environmental problems, appropriating them through a majestic toxic filter. Such a reductive rhetoric is counterproductive because it hides the structures that linger behind destruction. Therefore, it is paramount that both the media and artists utilize the effects of representation more consciously and add together activeness-prompting documentary modes of delineation to their pallet, backgrounding emotional-attentional shock 29 .
Fülöpháza – the Reservation of Bucolic Nostalgia
Our second destination were the dunes at Fülöpháza. We visited the Hungarian identity-defining Great Plainly landscape on the twenty-four hours before the 2018 National Associates elections. The sandy earth of the Duna–Tisza Köze region forced those living in the surface area to use the country in a colorful manner: agriculture was characterized by complimentary-range stock rearing, leading to the formation of farms. Our excursion began with the Garmada nature trail, cut across the National Biosphere Reservation'due south territory. Open sandplain grasslands, juniper, and white poplars are interspersed throughout the dunes. It took many attempts to halt the sand drift, which the stations of the trail document. A network of channels were created to divert inland water which resulted in the salinization of the earth. Thus, the Kiskunság apparently is partially the issue of humans' direction of the environment, the management of h2o flows, predated by the deforestation of the sandy forest steppe'south original plantation during the era of the Turkish invasions. The migration of sand was later halted when nonnative trees were planted. It is unsurprising that the foreign acacia and black pine forests interrupt the natural vegetation cover. What is seen as natural and an ecologically healthy landscape has taken its current form every bit a result of continuous human intervention.
A lively tourism started in the region after Globe War I. This tourism explored the plains' peasant culture, as opposed to the mural. This was Romanticism's endeavour to follow folk culture in its try to unpack the nation's mythology. "Infinite landscape, desert, treeless flatlands, drifting sand and pocket-size marshes, shepherds leading their animals here and there; bandits, gypsies migrating through it: this is the Western person's traditional thought of the Hungarian plain" 30. It is peculiarly interesting that, in the obviously's case, the Western European value judgement of Hungarians paradoxically met in time and ideological content with a Hungarian national identity which was taking shape. The peasants of the plains, who lived and breathed with the land, offered a reminiscence of the romanticized image of unity with nature that had been lost to modernization. The plains, the bucolic topos of rural peasant life, colored our sand dune field trip. This pastoral motif nostalgically turns to an imagined ideal of a past rural life, contrasting it with the urbanized, alienated lifestyle of civilization 31 .
After the hiatus of socialism, the regime alter brought about an increase in Bang-up Obviously tourism with the rise of interest from foreign groups. They consumed Hungarian apparently culture through the essentialist tavern-gulash-palinka trinity. I also partook in such excursions towards the terminate of the 1990s when I hosted representative cultural field trips for exchange students from abroad. This manufacture has been in turn down lately and attention has been rediverted to natural treasures; thus, the ii migrating sand dunes adjoining Fülöpháza concenter visitors now. Most of the farms face depopulation. The Kiskunság National Park nosotros explored had been functioning as a military drill ground since 1945 just became a protected expanse in 1975. This is when the emphasis definitively shifted from peasant civilisation to natural endowments as the chief attraction.
The myth of a nurturing earth manifested during our trip through spontaneous morel-picking. While we constitute a contradictory topos of untouched nature in a nature reserve which has taken its electric current form due to continuous human intervention, we as well plant the symbolic unity of humans and their surround, culture and nature in the plains.
Kékes Forest Reservation – the Distant Wilderness
The last destination of the ecocritical field trip series was Republic of hungary's only aboriginal woods, the Kékes Wood Reserve. Natural landscapes have typically been preserved in higher mountains throughout Europe, but equally at that place are only a few of these in Hungary, these few acres are among the limited domestic locations which ecology classifies as natural. Whatever logging or intrusion committed during the 20th century has permanently destabilized the original natural relations in these forests because the regenerative capacities of a forest'due south ecosphere are very slow (by comparing with the sand dunes, for case).
Vegetation Heritage of Hungary'due south (MÉTA) stunning figures demonstrate to how footling space the above-described untouchable landscape has been confined: "only 0.six% of the country's expanse is covered by vegetation that can be categorized as natural, an boosted 5.6% is near-natural, eight.ane% has deteriorated and a further 3.0% has significantly deteriorated" 32 . The data cited above assesses the country'southward unabridged area, only how does this relate to forests? To encounter the criteria of naturalness, locations take to sustain a combination of native dominant and mixed tree species, vertical and horizontal differentiation, variegated awning closure, the presence of sunlight-rich openings, old tree stocks, standing and fallen snags, the presence of seedlings, the mosaic-similar organisation of living spaces, etc., all underscoring how different the landscapes nether environmental protection are from the homogeneously structured sylvicultures 33 .
The Kékes Reserve has sustained its original intervention-free state because information technology was a ducal hunting range and because logging would be exceptionally challenging on its steep slopes. The tourists who visit the reserve can feel something wild and untouched, a conserved mural costless from civilization – i that we know from 18th century accounts. It is not the aesthetic services of natural habitats that makes them valuable but their ability to maintain the high levels of biodiversity of which sylvicultures are not capable. In contrast to environmental protection, which seeks to subtract human intervention and pollution in order to amend living conditions, nature protection plays a focal role in sustaining biodiversity. The topos of wilderness symbolizes the homo heed's opposition to – and defeat by – the original, pure mind. Being untouched carries the simulated promise of authenticity: something tin only be natural if information technology is outside human being influence. Meanwhile, it is worthwhile to notation but how illusory the untouched state is, since the sustainment of reserves is reliant on humans. Non to mention that, at the highest levels, humanity's affect already permeates everything; the temper is affected by humans, climatic relations are shaped past human actions, and traces tin can be found in rocks. This is the root of the anthropocene discourse. The impossibility of an untouched nature is the ecological and climate crisis.
Participants of the field trip also reflected on how the experience of wilderness equally tourists is based on the leisurely consumption-based practice enabled past the structure of industrial production and consumption responsible for the climate and ecological catastrophe. An urban lifestyle may offer social club the promise of well-existence, but its intensive use of nature continues to alienate the not-human world which modernity externalized. In this hope, the leisure time that nosotros spend consuming is interpreted as the polar opposite of labor. In this style the excursion becomes an aesthetic-psychological consumption of nature and contributes to individual well-being. The existence of the reserve provides a imitation illusion that at that place is an authentic nature somewhere far abroad; thus, nosotros can proceed with our daily lives in our urban civilization which relies on the exploitation of nature.
To equip ourselves with bureau in the fight confronting the ecological and climate crunch, we need to examine the origins of our concept of nature which was shaped past the compulsion of power in modernity, techno-scientific development, and the growth structures of commercialism. In this essay, I have attempted to outline the origin of our concept of nature in use and how we can clarify the ideological determination of nature with the assistance of an ecocritical mural analysis. The construction of the landscape is not only a shield from reality – it non only substitutes direct experience – but too functions equally the validation of dominant reality interpretations. Similarly to how the peasants laboring in the field were oft erased from 18thursday century English landscapes made for the bourgeoisie, 34 we block the uniquely interwoven ability relations of the social, economic, and ecological spheres prevalent in petrocapitalism from our images of nature 35 . During the field trips we sought the local peculiarities hidden behind the principal-metaphors representing nature. The aim of this was to convey that nature is not an external earth which is merely the background to homo life. Information technology is not only a resource which provides material for the unending development of the economy and lodge. And it is not a squeamish view that provides an aesthetic service for the well-existence of humans. The image of a landscape is ever formed past complex human being and not-human intervention and at that place is no such thing equally untouched nature. Human activity has an bear upon on every chemical element of nature, as all spheres of homo beingness are reliant on information technology. The grandiose hope of modernity that humanity can step onto a path of infinite growth by subjugating nature is merely a pompous illusion. How could nosotros remember otherwise in the midst of a pandemic?
Translated by John Szabo.
Rita Süveges is a Hungarian creative person, currently enrolled in the postgraduate program of HUFA. Her art practice is driven by theoretical inquiry almost the ecological and climate crunch. Feminist ecocriticism shapes her works: she studies the interconnections of ecosystem actors, the relations of nature and civilisation based on the critique of growth and technological development. As a member of xtro realm artist group she organized a multitude of programs (reading circles, exhibitions, talks, field trips etc.) dealing with new-realist and ecological theories that critique the anthropocentrism of contemporary thought.
The Climate Imaginary Reader is edited past the members of xtro realm artist group, Rita Süveges and Anna Zilahi, editor of visual textile is Gideon Horváth.
Climate Imaginary Reader
● Introduction to Issue 9 – by Anna Zilahi
● The World every bit Contingent Space – by Anna Zilahi
● The Politics of Susceptibility – past Héla Hecker
● Climate Modify, COVID-xix, and the Infinite Motel: A Politics of Care in the Shadow of Space Colonization – by Réka Patrícia Gál
● Between Ii Giants: Materialism and the Social Imaginary in the Energy (Transitions) of Republic of hungary – by John Szabo
● Beyond the Postcard: an Ecocritical Inquiry on Images of Nature– by Rita Süveges
● The Long March through Social Imagination – by Márk Losoncz
Notes:
1 Ecocriticism more often than not explores the representation of nature. Information technology is believed to have surfaced in the 1990s, though rooted in the international green movements of the 1960s and 1970s. Information technology conducts inquiry on the diverse fields of civilisation and arts (for case, literature, painting, movement pictures) but also pursues the critical cess of commercials, television and radio programs – fifty-fifty the forms that zoos and parks accept. The main questions it tackles are how nature is represented in various texts and what images these representations allude and produce about nature, how nature's representation shapes physical, physical environments, and in what relation human linguistic communication and non-homo environments stand (or the homo and non-human worlds in general). It also raises broader ontological questions, such as what humans are and what nature is. Greg Garrard provides the following definition in his work Ecocriticism: "the study of the relationship of the human and the non-human throughout man cultural history and entailing disquisitional analysis of the term 'homo' itself." Source: Greg Garrard cited in András Benke et al., "Öko-fogalomtár [Eco-notions]," A Szem, May 30, 2017, Accessed: 12.04. https://aszem.info/2017/05/oko-fogalomtar/2018.
2 Francis Bacon cited by Donald Worster, Nature's Economic system (Cambridge U. Press, 1977), 30.
3 Carolyne Merchant, The Expiry of Nature – Women, Ecology and the Scientific Revolution (Harper & Row. 1983), 69.
4 Natural laws state that God'due south will controls the spheres of existence. All existing entities have an obligation to subjugate themselves to this power. Source: György Kampis et al., "Előadások a természetfilozófia történetéből [Lectures from the history of natural sciences]," Eötvös Loránd Tudományegyetem, 2012, http://www.eltereader.hu/kiadvanyok/eloadasok-a-termeszetfilozofia-tortenetebol/. Accessed: 12.04.2018.
5 See, for example, the Blood and Soil (Blut und Boden) movement which was formed in the 1920s based on the völisch-nationalist ideas taking shape from the middle of the xixthursday century. Naturalist visions bold the sustainment of national communities were at its centre – a sort of nature-based and biological determinism, a dependence on nature and existential integration. According to this, the nation gathers its principal impulses and sustaining powers from ecological relations. Thereby the health of the nation was linked to the wellness of these relations. Rootedness referred to the intrinsic unity of the textile and spiritual which connected nation-organicism and nature. A nation's fundamental natural qualities became ethnic descriptors.
M. Bassin, "Claret or Soil? The Volkisch Movement, the Nazis, and the Legacy of Geopolitik," in How Green were the Nazis? Nature, Surround, and Nation in the 3rd Reich, ed. Franz-Josef Bruggemeier et al. (Ohio University Printing, 2005) 204-242.
half dozen "Conventionally, the patriarchal 'othering' hierarchy extended from women downward to children, and on to animals, plants, air, water, rocks and indigenes, each being objectified as a resource by this practise. Powerfully energised by the Eurocentric masculine consciousness, sex-gender domination has served as the linchpin for a circuitous of political oppressions." Ariel Salleh, "Ökofeminizmus [Ecofeminism]," Fordulat 25., Klímaváltozás és kapitalizmus [Climatic change and Capitalism] (2019): 145-158.
7 Modern scientific discoveries gradually altered the geocentric model in which the Earth was the middle of the cosmos. The Sun became the heart of the new world in the theories of Copernicus. Subsequently, Giordano Bruna proved that the universe is space, human civilization beingness merely a tiny portion of information technology. This new knowledge ended the attempts to identify a centre and the universe became independent of humans, meaning that it should be observed from an external, objective position. Source: György Kampis et al., "Előadások a természetfilozófia történetéből [Lectures from the history of natural sciences]," Eötvös Loránd Tudományegyetem, 2012, http://www.eltereader.hu/kiadvanyok/eloadasok-a-termeszetfilozofia-tortenetebol/. Accessed: 12.04.2018.
eight A mechanistic worldview imagines the globe as calculable from the interactions of simple elements: components which construct a clear, interlinked arrangement. The ontological system of the mechanistic worldview is premised on the power relation between the active object and its passive, bearing environs. The mechanistic worldview was revolutionary considering, in dissimilarity to foregone ages, information technology assumed that the object was the active agent, while the environs was the passive endurer in the object-environment relation. Source: György Kampis et al., "Előadások a természetfilozófia történetéből [Lectures from the history of natural sciences]," Eötvös Loránd Tudományegyetem, 2012, http://world wide web.eltereader.hu/kiadvanyok/eloadasok-a-termeszetfilozofia-tortenetebol/. Accessed: 12.04.2018.
nine Cartesian philosophy is linked to Descartes, who developed the other main methodology of the Enlightenment. A Cartesian epistemology questions all experiences – not merely our ain experiences, but also external powers. He promulgates the all-encompassing validity of scientific inquiry, suggesting that complex systems should exist stripped downward to their elements (processes and disciplines) and that their causal relations should exist assessed considerately. All understanding is based on subjective prove, leading him to his famous thesis: cogito ergo sum. According to this, only the listen tin imagine itself, which provides it exclusive evidence of its existence. Thus, the approach that "others tin can think instead of me" is substituted with a central and overly emphasized subject as the source of certainty. Source:György Kampis et al., "Előadások a természetfilozófia történetéből [Lectures from the history of natural sciences]," Eötvös Loránd Tudományegyetem, 2012, http://world wide web.eltereader.hu/kiadvanyok/eloadasok-a-termeszetfilozofia-tortenetebol/. Accessed: 12.04.2018.
ten Carolyne Merchant, The Death of Nature – Women, Ecology and the Scientific Revolution (Harper & Row. 1983), two.
11 Meet: Buss Kata Dóra, "Vissza a természethez? Az ökológiai válság feminista olvasata [Dorsum to Nature? A Feminist Reading of the Ecological Crunch]," xtro realm / Klímaképzelet Reader 5., http://tranzitblog.hu/vissza-a-termeszethez-az-okologiai-valsag-feminista-olvasata/. Accessed: 12.04.2018.
12Salleh, "Ökofeminizmus [Ecofeminism]," 145-158.
13 Joachim Ritter, "A táj: az esztétikum funkciója a modern társadalomban [Landscape. On the Role of Aesthetics in Modern Society]," Pompeji 3 (1995): 132-148.
14 Denis East. Cosgrove, Social Formation and Symbolic Landscape (The University of Wisconsin Printing, 1998), 15.
15 W.J.T. Mitchell, ed., Landscape and Power (The University of Chicago Printing, 2002), 2.
16 Georg Simmel, "A táj filozófiája [The Philosophy of Landscape]," In Velence, Firenze, Róma. Művészetelméleti írások [The Art of the City: Rome, Florence, Venice], ed. Gábor Berényi (Budapest: Atlantisz, 1990), 99.
17 "Panofsky suggests that the central perspective has been vested with symbolic power and meaning. This could exist due to 2 reasons. One is that it enframed space into an abstract and universal organization, which besides reflects the Cartesian mathesis universalist, the compatible contemplation of the globe. The other reason is that it introduced the fixed view's position, which came to limited humans' aspirations to dominate. The freedom to choose a subjective signal of view tin can exist contrasted with the systematization of the globe and the objectivity which viewing it from afar entails. The tension between the two stems from the fact that the central perspective non merely opens up the (depicted) world in front of the man but besides includes them, transfiguring them from a spectator to an player." Source: Dr. Tarnay László, "A középpontos perspektíva 'szubjektív'jellege [The Subjectivity in Central Perspective]," in Az esztétika tapasztalati alapjai [The Bases of Artful Feel], Pécsi Tudományegyetem Bölcsészettudományi Kar, 2011, http://janus.ttk.pte.hu/tamop/tananyagok/esztetika_tap_alap/68_a_kzppontos_perspektva_szubjektvjellege.html. Accessed: 12.04.2018.
18 Denis East. Cosgrove, Social Formation and Symbolic Mural (The University of Wisconsin Press, 1998), 19.
19 D. Meinig, ed., The Interpretation of Ordinary Landscapes (Oxford: Oxford Academy Printing, 1979)
20 The USA articulated its goal to develop modernistic and high yielding grains for developing countries in the 1950s. It provided the rice and grain crops it had developed by the mid-1960s to Latin American and Asian agricultures. The success of these crops is by and large referred to as the Greenish Revolution (fertilizers, herbicides, intensive land apply, etc.). Source: R. E. Evenson and D. Gollin, "Assessing the Impact of the Green Revolution, 1960 to 2000," Science, Vol. 300, Event 5620 (May 2003): 758-762, DOI: 10.1126/science.1078710
21 Susan Sontag, On Photography (New York: Farrar, Straus and Giroux, 1977), 177.
22 xtro realm has been organising events (book clubs, exhibitions, field trips) for the sake of cognition-sharing and transdisciplinary interaction since 2017. These are aimed at helping participants translate the climate change and anthropocene which determine our existence according to the new realist and ecological theories criticizing the anthropocentrism of gimmicky thought. Its members are Gideon Horváth, Anna Zilahi, and Rita Süveges. See www.xtrorealm.hu.
23 Greg Garrard, Ecocriticism (London; New York: Routledge, 2004), 4.
24 Greg Garrard, Ecocriticism (London; New York: Routledge, 2004), 93.
25 Frederick Buell, "A Short History of Environmental Apocalypse," in Hereafter Ethics – Climatic change and Apocalyptic Imagination, ed. Stefan Skrimshire (Continuum International Publishing Group, 2010), 13-25.
26 See: Hódosy Annamária, Biomozi. Ökokritika és populáris film. [Biotheatre. Ecocriticism and the Common Movie.] (Szeged: Tiszatáj Alapítvány, 2018)
27 "The passion caused by the corking and the sublime in nature, when those causes operate almost powerfully is Astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it." Edmund Shush, Filozófiai vizsgálódás a fenségesről és a szépről való ideáink eredetét illetően [A Philosophical Research into the Origin of Our Ideas of the Sublime and Cute] (Budapest: Magvető, 2008), 87.
28 Meghan Bissonnette, "Toxic Sublime and the Dilemma of the Documentary," Seismopolite (June 2016), http://world wide web.seismopolite.com/toxic-sublime-the-dilemma-of-the-documentary.
29 Come across: T.J. Demos, "The Agency of Fire: Called-for Aesthetics," East-flux Journal #98. (February 2019), https://www.e-flux.com/periodical/98/256882/the-bureau-of-fire-burning-aesthetics/. Accessed: xx.04.2020.
thirty Peterdi Vera, "Hogyan is állunk ma a pusztával?: Kunpuszta régió (Felső-Kiskunság) pusztai turizmusának etnográfiai megközelítése. [How practise We Stand up with the Plain? An Ethnographic Approach to the Kunpuszta Region (Upper-Kiskunság)]," in Turizmus és kommunikáció [Tourism and Communication], ed. Fejős Zoltán, Szijártó Zsolt (Budapest: Néprajzi Múz.; Pécs: Pte Kommunikációs Tanszék, 2000), 129-152.
31 Greg Garrard, Ecocriticism (London; New York: Routledge, 2004), 33-59.
32 "MÉTA Program," Landscape Ecological Vegetation Database & Map of Hungary, MTA Ökológiai Kutatóközpont, https://world wide web.novenyzetiterkep.hu/node/53. Accessed: 05.05.2020.
33 Frank Tamás and Szmorad Ferenc, Védett erdők természetességi állapotának fenntartása és fejlesztése. Hogyan csináljunk faállományból erdőt? [Maintaining and Developing the State of Protected Forests. How to Turn a Stock of Trees into a Forest?] (Budapest: Duna–Ipoly Nemzeti Park Igazgatóság, 2014), 25-30.
34 John Barrell, The Dark Side of the Mural: The Rural Poor in English Painting 1730-1840 (Cambridge University Press, 2012)
35 Heather Davis and Etienne Turpin, "Art & Decease: Lives Betwixt the Fifth Cess & the Sixth Extinction," in Art in the Anthropocene, Encounters Amid Aesthetics, Politics, Environments and Epistemologies, ed. Heather Davis and Etienne Turpin (Open Humanities Printing, 2015), 7.
Source: http://mezosfera.org/beyond-the-postcard-an-ecocritical-inquiry-on-images-of-nature/
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