By Heather Davis, Etienne Turpin (eds.)
Taking as its premise that the proposed geologic epoch of the Anthropocene is inevitably a classy occasion, this e-book explores the connection among modern artwork and information construction in an period of ecological obstacle, with contributions from artists, curators, theorists and activists. individuals contain Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura corridor, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomás Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Zoe Todd, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow.
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Additional resources for Art in the Anthropocene: Encounters among Aesthetics, Politics, Environments and Epistemologies
What does care do? What is care? With an instrument you do the same exercise every day; that doesn’t look like particle physics. That is one reason why people—and I don’t mean the people who are paid by the oil industry and coal industries, I’m not talking about those guys—are surprised, disappointed, worried that after the twentieth-century achievements of big science and basic science, science has “regressed” to model building (which they often see as an inferior science), to natural history, and to care.
But, the point of view of bleak optimism is actually a view from nowhere. I don’t think we require a scenario of disappearance. I think that’s a mistake, because futures are multiple and there are many ways in which humans will cope. The question is what politics anticipate the catastrophe sufficiently so that these futures stay open. And that is, of course, one of the reasons why so many people, like Isabelle Stengers, are worried about the word Anthropocene—because its political acumen will make it disappear very quickly.
Because of the Anthropocene situation there are lots of connections that were superficial before, where people would say “yes, it’s nice to have a link between artists and scientists, they are creative,” but now these are more directly connected. 4 And it was clearly not at all the sort of discussion I organized maybe thirty years ago in San Diego, where you would have had artists capturing some sort of aesthetic aspect of science. Here, we are talking about the common articulation of the Anthropocene.