Ecology Without Nature

In Ecology without Nature, Timothy Morton argues that the chief stumbling block to environmental thinking is the image of nature itself. Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the "nature" they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all. Ecology without Nature investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading "environmentality" in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from The Lord of the Rings to electronic life forms, Ecology without Nature widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: "dark ecology."

Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Möbius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are. The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse.

In this passionate, lucid, and surprising book, Timothy Morton argues that all forms of life are connected in a vast, entangling mesh. This interconnectedness penetrates all dimensions of life. No being, construct, or object can exist independently from the ecological entanglement, Morton contends, nor does ÒNatureÓ exist as an entity separate from the uglier or more synthetic elements of life.

A book about ecology without information dumping, guilt inducing, or preaching to the choir. Don't care about ecology? You think you don't, but you might all the same. Don't read ecology books? This book is for you. Ecology books can be confusing information dumps that are out of date by the time they hit you. Slapping you upside the head to make you feel bad. Grabbing you by the lapels while yelling disturbing facts. Handwringing in agony about “What are we going to do?” This book has none of that. Being Ecological doesn't preach to the eco-choir. It's for you—even, Timothy Morton explains, if you're not in the choir, even if you have no idea what choirs are. You might already be ecological. After establishing the approach of the book (no facts allowed!), Morton draws on Kant and Heidegger to help us understand living in an age of mass extinction caused by global warming. He considers the object of ecological awareness and ecological thinking: the biosphere and its interconnections. He discusses what sorts of actions count as ecological—starting a revolution? going to the garden center to smell the plants? And finally, in “Not a Grand Tour of Ecological Thought,” he explores a variety of current styles of being ecological—a range of overlapping orientations rather than preformatted self-labeling. Caught up in the us-versus-them (or you-versus-everything else) urgency of ecological crisis, Morton suggests, it's easy to forget that you are a symbiotic being entangled with other symbiotic beings. Isn't that being ecological?

Today we face an increasing number of challenges connected to our environment - from climate change and extreme weather patterns to deforestation, threats to animal species and ongoing crises in farming. Hardly a day goes by without further alarming reports. How are we to respond - particularly if we wish to take a broader, spiritual view of these events? Today we face an increasing number of challenges connected to our environment - from climate change and extreme weather patterns to deforestation, threats to animal species and ongoing crises in farming. Hardly a day goes by without further alarming reports. How are we to respond - particularly if we wish to take a broader, spiritual view of these events? In the extracts compiled in this volume, presented here with commentary and notes by Matthew Barton, Steiner speaks about human perception, the earth, water, plants, animals, insects, agriculture and natural catastrophes. Spiritual Ecology offers a wealth of original thought and spiritual insight for anyone who cares about the future of the earth and humanity.

An Artforum Best Book of the Year A Legal Theory Bookworm Book of the Year Nature no longer exists apart from humanity. Henceforth, the world we will inhabit is the one we have made. Geologists have called this new planetary epoch the Anthropocene, the Age of Humans. The geological strata we are now creating record industrial emissions, industrial-scale crop pollens, and the disappearance of species driven to extinction. Climate change is planetary engineering without design. These facts of the Anthropocene are scientific, but its shape and meaning are questions for politics—a politics that does not yet exist. After Nature develops a politics for this post-natural world. “After Nature argues that we will deserve the future only because it will be the one we made. We will live, or die, by our mistakes.” —Christine Smallwood, Harper’s “Dazzling...Purdy hopes that climate change might spur yet another change in how we think about the natural world, but he insists that such a shift will be inescapably political... For a relatively slim volume, this book distills an incredible amount of scholarship—about Americans’ changing attitudes toward the natural world, and about how those attitudes might change in the future.” —Ross Andersen, The Atlantic

A potent new book examines the overlap between our ecological crisis and video games Video games may be fun and immersive diversions from daily life, but can they go beyond the realm of entertainment to do something serious—like help us save the planet? As one of the signature issues of the twenty-first century, ecological deterioration is seemingly everywhere, but it is rarely considered via the realm of interactive digital play. In Playing Nature, Alenda Y. Chang offers groundbreaking methods for exploring this vital overlap. Arguing that games need to be understood as part of a cultural response to the growing ecological crisis, Playing Nature seeds conversations around key environmental science concepts and terms. Chang suggests several ways to rethink existing game taxonomies and theories of agency while revealing surprising fundamental similarities between game play and scientific work. Gracefully reconciling new media theory with environmental criticism, Playing Nature examines an exciting range of games and related art forms, including historical and contemporary analog and digital games, alternate- and augmented-reality games, museum exhibitions, film, and science fiction. Chang puts her surprising ideas into conversation with leading media studies and environmental humanities scholars like Alexander Galloway, Donna Haraway, and Ursula Heise, ultimately exploring manifold ecological futures—not all of them dystopian.

Cultures have long defined themselves through biological elements to prove their strength and longevity, from cherry blossoms in Japan to amber waves of grain in the United States. In this volume, Christine L. Marran introduces the concept of biotropes - material and semiotic figures that exist for human perception - to navigate how and why the material world has proven to be such an effective medium for representing culture.

Environmentalism and ecology are areas of rapid growth in academia and society at large. Screening Nature is the first comprehensive work that groups together the wide range of concerns in the field of cinema and the environment, and what could be termed “posthuman cinema.” It comprises key readings that highlight the centrality of nature and nonhuman animals to the cinematic medium, and to the language and institution of film. The book offers a fresh and timely intervention into contemporary film theory through a focus on the nonhuman environment as principal register in many filmic texts. Screening Nature offers an extensive resource for teachers, undergraduate students, and more advanced scholars on the intersections between the natural world and the worlds of film. It emphasizes the cross-cultural and geographically diverse relevance of the topic of cinema ecology.

"Nature All Around Us is an unprecendented field guide to the ecology of the urban environment that invites us to look at our towns, cities, and even our backyards through the eyes of an ecologist"--Provided by publisher.