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Archive for the ‘Eco-theory’ Category

“Ultimately, the thinking of speculative pragmatism that is activist philosophy belongs to nature. Its aesthetico-politics compose a nature philosophy. The occurrent arts in which it exhibits itself are politics of nature. “The one-word summary of its relational-qualitative goings on: ecology. Activist philosophy concerns the ecology of powers of existence. Becomings in the midst. Creative change […]

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My paper for this year’s Society for Cinema and Media Studies conference, coming up next month in Boston, will focus on the two films that got a lot of side-by-side attention at last year’s Cannes festival, Lars von Trier’s Melancholia and Terrence Malick’s The Tree of Life. Since a few of my favorite bloggers have […]

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The Integral Ecology reading group moves here this week, picking up the baton from Adam and Sam at Knowledge Ecology. (And see Michael’s summary at Archive Fire.) This week we’re focusing on chapters 3 (“A Developing Kosmos”) and 4 (“Developing Interiors”). Following a short summative preamble, this post examines Chapter 3. Its follow-up will examine […]

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In defiance of the idea that Nature — the thing, or the idea (capitalized or not), or both — is either dead or unnecessary, I feel like posting some favorite passages from “Nature Alive,” the second of A. N. Whitehead’s two 1933 lectures on nature, published in Modes of Thought (1938/1968), which you can read […]

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I’d like to call a moratorium on the use of the word “constructivism” (or “constructionism”) to refer only to social constructivism. (This post was prompted by Tim  Morton’s Object-Oriented Strategies for Ecological Art, but his point there is somewhat differently directed and mine addresses a more general issue that can still be found in a […]

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The IAEP picks a nice image for this conference… Spirit tracks on Mars

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CALL FOR PAPERS: Special Issue of Environmental Philosophy THEME: Temporal Environments: Rethinking Time and Ecology Details:

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Just a few quick responses to Levi Bryant. Levi writes: 1) entities are nonetheless patterned or structured despite their becoming, 2) they are unities, and 3) they cannot be submerged in or exhausted by their relations. Relations can always be detached. Objects can always enter into new relations. [. . .] if you hold that […]

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One of the tasks of this blog, since its inception in late 2008, has been to articulate a theoretical-philosophical perspective that I have come to call “process-relational.” This is a theoretical paradigm and an ontology that takes the basic nature of the world to be that of relational process: that is, it understands the basic […]

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Replying to me here, Graham Harman explains his objections to relational ontologies, arguing that they fail to make a distinction between the “two sorts of relations” in which an entity is involved. These are not “the famous ‘internal’ and ‘external’ relations,” but are what he “somewhat whimsically” calles the “domestic” and “foreign” relations of an object. (I like this distinction, though I’m not sure how it’s different from internal and external relations.)

GH: “Surely Adrian doesn’t want to claim that the cane toad is a set of all its relations? If Mars were five inches further along in its course than it currently is, would the cane toad be a different cane toad than it is now?” [. . .]

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Seems someone else beat me to reviewing Bernd Herzogenrath’s anthology Deleuze/Guattari and Ecology for Deleuze Studies, and the reviews editor failed to tell me that (which he must have known for a few months now; I hope that’s not common practice for them). In any case, things like that happen, especially with academic journals that […]

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I’m on my way this week to the Society for Cinema and Media Studies Conference in LA, where I’ll be presenting, in miniature, the ecocritical/ecophilosophical model of cinema that I’m developing in my book-in-progress. This “process-relational” model draws on Peirce, Whitehead, Deleuze, Bergson, Heidegger, and others, with inspirational nods to psychoanalysis, cognitive film theory (which, to be honest, is a little less inspirational, but to some extent inevitable), and individual theorists like Sean Cubitt, John Mullarkey, and Daniel Frampton. Its ecophilosophical basis is that it is primarily concerned with the relationship between cinema — as a technical medium, a thing in the world, and a form of human experience — and the ecologies within which humans are implicated and enmeshed. Here’s one articulation of that model. [. . .]

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