“Ariel Salleh: The Vicissitudes of an Earth Democracy
Even as we face the global crisis, an Earth on fire, the role of water goes unacknowledged. Yet it is water that joins Humanity and Nature, mind and body, subject and object, men, women, queers, children, animals, plants, rocks, and air. Water carries the flow of desire, nourishes the seed, sculpts our valleys, and our imaginations. As water joins heaven and Earth, it steadies climates. But the Promethian drive to mastery, militarism, mining, manufacture, steals water, leaves deserts in its wake. More than peak oil, we face peak water. What kind of ecotheory will turn this Anthropocene around? Who embodies the deep flow of resistant affect that Adorno and Kristeva find in non-identity? Can the universities give us theory that is guided by this logic of water? Or are our canons and cognitions still too embedded in the commodities and objects of fire? While life on Earth falls into Anthropocenic disrepair, a global bourgeois culture promotes ad hoc action as policy and pastiche as style. Timothy Morton’s recent essay ‘The Oedipal Logic of Ecological Awareness’ is provocative in this respect. In response, we ask: What does the hybrid politics of ecological feminism say about affect and the dissolution of old binaries like Humanity versus Nature? How does its embodied materialism translate into an Earth Democracy? Whose affective habitus can nurture nature’s agency – indigenes, mothers, peasants? Whose common labour skills reproduce the unity of water and land?
Eileen Joy: Post/Apocalyptically Blue
This talk is an attempt to think about depression as a shared creative endeavor, as a trans-corporeal blue (and blues) ecology that would bind humans, nonhumans, and stormy weather together in what anthropologist Tim Ingold has called a meshwork, where “beings do not propel themselves across a ready-made world but rather issue forth through a world-in-formation, along the lines of their relationships.” In this enmeshment of the “strange strangers” of Timothy Morton’s dark ecology, “[t]he only way out is down” and art’s “ambiguous, vague qualities will help us to think things that remain difficult to put into words.” It may be, as Morton has also argued, that while “personhood” is real, nevertheless, “[b]oth the surface and the depth of our being are ambiguous and illusory.” And “still weirder, this illusion might have actual effects.” I want to see if it might be possible to cultivate this paradoxical interface (literally, “between faces”) between illusion and effects, especially with regard to feeling blue, a condition I believe is a form of a deeply empathic enmeshment with a world that suffers its own “sea changes” and which can never be seen as separate from the so-called individuals who supposedly only populate (“people”) it.”