Navegando el Eco-Duelo con Prácticas Ancestrales del Duelo
El eco-duelo puede sentirse aislante, pero Christina Guevara y Rae Jing Han se inspiran en prácticas ancestrales filipinas y chinas para desarrollar formas colectivas de duelo.
El eco-duelo puede sentirse aislante, pero Christina Guevara y Rae Jing Han se inspiran en prácticas ancestrales filipinas y chinas para desarrollar formas colectivas de duelo.
Katherine Cheung examina el concepto de ceguera hacia las plantas y las formas en que los seres humanos pueden comprender sus escalas temporales diferenciadas, sintonizándose finalmente con los ritmos vegetales.
Monika Szuba enfrenta el tiempo profundo a través del examen de la descomposición, entre lo que es real y lo que es sintético. En este contexto, escribe que la longue durée no es lo suficientemente larga para concebir el cambio antropogénico que se despliega a nuestro alrededor.
Katherine Cheung examines the concept of plant blindness and the ways in which humans can understand the differing timescales of plants—ultimately attuning themselves to vegetal rhythms.
Dylan Couch traces the complex connections between Aldo Leopold’s conservation land ethic, worsening wildfire risk, and archival precarity that threatens not only living and physical things, but collective memory.
Mark Carey explores the themes of out of time, accelerating time, and buying time in current climate change discourse, arguing that they flatten other social constructions of time and perpetuate empty “scientific” solutions.
Eco-grief can feel isolating, but Christina Guevara and Rae Jing Han draw on Filipino and Chinese ancestral practices to develop collective grieving practices.
Jessica George interrogates the politics of seemingly apolitical wildfire memorials and examines how climate change-related art challenge the timelessness of conventional monuments.
Edwin A. Abbott nineteenth-century novel Flatland is often described as a science (or mathematical) fiction. Valeria Zambianchi argues that it can be read as climate fiction as it shows that the possibilities to combat climate crisis are already present in our world.
Yota Batsaki explores the ways Kapwani Kiwanga’s sculpture “On Growth” converges the past and the present, challenging human temporalities through exploration of plant time. The sculpture is on display at the High Line in New York City.