The interactive correspondence of art, science, and preservation supports the composition of a four-volume anonymous herbarium originally belonging first to the Venetian library of Ambassador Hurtado de Mendoza, and later endowed to the Royal Library of the Monastery-Palace of El Escorial. This planted knowledge consist­ed of artistic and scientific practices to preserve not only the plants dried and glued to recycled paper, but the association of those plants, with names, stories, and contexts in ways that attest to the (...) development of natural history and philosophy in sixteenth-century Italy and Spain. This article describes and analyzes the composition of the Hurtado herbarium, its provenance, and its place in the context of early modern European naturalism and botany. Finally, it considers problems of reading this collection, and possible solutions to better understand the herbarium in El Escorial as another piece of this network of dissemination of ethnobotanical knowledge in early modern Europe. (shrink)

Despite progress, gender gaps persist in mathematical and language-related fields, and gender stereotypes likely play a role. The current study examines the relations between parents’ gender-related beliefs and their adolescent child’s motivation and career aspirations through a survey of 172 parent-child dyads. Parents reported their gendered beliefs about ability in mathematics and language arts, as well as their prescriptive gender role beliefs. Students reported their expectancies and values in these two domains, as well as their career aspirations The results of (...) path models suggested that parents’ ability stereotypes about language boosted girls’ motivation for language arts, thereby nudging them away from STEM pathways. Girls’ career aspirations stemmed not only from their valuation of the corresponding domain, but also from their valuation of competing domains. Such findings highlight the need to consider multiple domains simultaneously in order to better capture the complexity of girls’ career decisions. For boys, parents’ language ability stereotypes were directly related to mathematical career aspirations. These results suggest that stereotypes that language arts is not for boys push them instead toward mathematics. Our study also highlighted the unique role of parental beliefs in traditional gender roles for boys’ motivation and career aspirations. Specifically, parents’ gender role stereotypes directly related to less interest in language arts only among boys. This highlights that research into gender gaps in female-dominated fields should consider stereotypes related to appropriate behavior and social roles for boys. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Introduction Introduction / Jan de Vries 1 Art in History / Gary Schwartz 7 History in Art / J. W. Smit 17 Pt. I Art and Reality Market Scenes As Viewed by an Art Historian / Linda Stone-Ferrier 29 Market Scenes As Viewed by a Plant Biologist / Willem A. Brandenburg 59 Marine Paintings and the History of Shipbuilding / Richard W. Unger 75 Skies and Reality in Dutch Landscape / John Walsh 95 Some Notes on Interpretation / E. de (...) Jongh 119 Are These Girls Really So Neat? On Kitchen Scenes and Method / Jochen Becker 139 Didactic and Disguised Meanings? Several Seventeenth-Century Texts on Painting and the Iconological Approach to Northern Dutch Paintings of This Period / Eric J. Sluijter 175 The Changing Face of Realism / Lyckle de Vries 209 Pt. II Art, Economy, and Society Art History / Jan de Vries 249 The Volume and Value of Paintings in Holland at the Time of the Dutch Republic / Ad van der Woude 285 Works of Art in Seventeenth-Century Amsterdam: An Analysis of Subjects and Attributions / John Michael Montias 331 Conclusion Science, Commerce, and Art: Neglected Topics at the Junction of History and Art History / David Freedberg 377 Biographical Notes on the Authors 429 Index. (shrink)

_Why Look at Plants?_ proposes a thought-provoking look into the emerging cultural politics of plant-presence in contemporary art through the original contributions of artists, scholars, and curators who have creatively engaged with the ultimate otherness of plants in their work.

In recent years, numerous artistic experiments have emerged that engage Critical Plant Studies in dialogue with various forms of artistic creation. The role of plants in these processes, their capacity to influence them, and their impact on human imaginaries are currently subjects of debate. This text aims to analyze these questions within the context of a specific artistic project. The piece Other Intelligences by the artist duo Maria Castellanos and Alberto Valverde introduces novel features regarding the role of (...) class='Hi'>plants and the space of encounter between humans and plants. We will analyze this artistic device by applying concepts such as plant agency and performance, opacity, and some considerations related to ethics and care. Additionally, we will present observations of certain plant behaviors and the results of six interviews conducted with project participants. (shrink)

Plants are edging closer to the center of critical inquiry in the Anthropocene because they are intimately tied to legacies of settler colonialism, forced migration, related practices of extractive capitalism, and their environmental and human harm. Ostensibly sessile, plants travel constantly through their adaptations to ensure their survival and reproduction. In the modern period, this movement was taken to unprecedented scale by humans, triggering massive displacement of people and disruption to ecosystems. Among the many instances of plant movement, (...) the scandalous mobility of invasives unsettles us because it exposes the worst excesses of the Anthropocene. This essay focuses on the practice of multimedia artist Precious Okoyomon, whose installations feature prominently kudzu, the most notorious weed in the US. The highest concentrations of kudzu are found in the former Cotton Belt—Georgia, Alabama, and Mississippi—making it cotton’s unlikely successor. The essay analyzes how Okoyomon’s kudzu installations explore the dark side of the landscape, peeling off layers of human and environmental harm while acknowledging the resilience of more-than-human life. But a focus on invasive species also challenges plant theory’s celebration of entanglement, showing how the theoretical effort to produce the plant as a generalized concept bumps against the contingencies of its natural history in time and place, its ontological slipperiness, its ethical ambiguity. (shrink)

Many activities towards plants are directly related to environmental crisis issues. However, our actions towards plants are little theorized in philosophy and ethics. After a brief presentation of the history, state of the art, and current issues of plant ethics, I critically illustrate how the theoretical threads of current ethics should be clarified, and, more importantly, contextualised, to promote the application of concrete measures. Particular attention is paid to the ethics of plant flourishing as applied to different fields (...) and types of plants. The treatment of wild and ornamental plants is, thus, explicitly distinguished from that of improved agricultural varieties, themselves distinguishable according to modes of cultivation. I thus propose and discuss several recommendations and concrete courses of action to promote an ethics of plants, while pointing out its limitations. (shrink)

The geometric shapes and natural forms, captured with exceptional precision in Ernst Haeckel's prints, still influence artists and designers to this day. This volume highlights the research and findings of this natural scientist. Powerful modern microscopes have confirmed the accuracy of Haeckel's prints, which even in their day, became world famous. Haeckel's portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the "unity of all living (...) things" and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and "constructive" aspects, document the oness of the world in its most diversified forms. This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all make explicit reference to Haeckel in their work. (shrink)

Darwin and the Art of Science will consist of excerpts from six of Darwin's books, chosen and introduced by James Costa. The excerpts will be arranged by plant (rather than according to which book they're from) in order to make the most of extraordinary images provided by the Oak Springs Garden Foundation library. As a group, they will provide unparalleled access to Darwin's fascinating observations and musings about the world of plants and how their distinctive features have evolved.

Genebanking, the process of preserving genetic resources, is a central practice in the modern management of crop genetics, especially for the species used for food and agriculture. Closely interrelated networks of local, national and global actors are responsible for ex situ conservation. They all seek to make plant genetic resources accessible for all and now face new challenges arising from digitisation. Plant sciences are entering the postgenomic era, moving fast from initially providing a single reference genome for each species (genomics), (...) to harnessing the extent of diversity within crop species (pangenomics) and among their relatives (referred to as postgenomics). This paper describes the extent to which ex situ collections have already undergone a digital shift, or are planning to do so, and the potential impact of this postgenomic-induced dematerialisation on the global governance of plant genetic resources. In turn, digitising material (seed) collection changes the relationship between genebanks and genomic databases. Comprehensive genomic characterisation of genebank accessions is ongoing, and I argue here that these efforts may provide a unique opportunity for genebanks to further embrace the moral, ethical and ultimately political principles on which they were built. Repurposing genebanks as decentralised digital biocentres could help relocate capabilities and stewardship over genetic resources. Empowering local farmers by providing access, promoting the use and unlocking benefits from state-of-the-art tools of modern plant breeding may allow bridging the breeding divide. However, to accomplish such a paradigm shift, genebanks require a strong political mandate that must primarily originate from the access and benefit-sharing framework. Only so may the global challenges associated with the loss of biodiversity and food insecurity be addressed. (shrink)

As an arts-based research approach, poetic enquiry has been theorised and applied recently in the social sciences and in education. In this article, I extend its usage to eco-critical studies of Australian flora and fauna. The Southwest corner of Western Australia affords opportunities to deploy arts-based methodologies, including field poetry, for celebrating the natural heritage of a region of distinguished biodiversity. I suggest that lyric practices in places such as Lesueur National Park and Anstey-Keane Damplands in southern Perth can catalyse (...) embodied engagements with flora. The outcome of these practices is the invocation of the multiple senses— including the proximities of touch and taste—towards senses of place involving physical interactions with plants and their habitats. I will discuss poetic enquiry in relation to the limitations of landscape aesthetics. Visual aesthetic modes tend to frame botanical environments as a succession of images. In contrast, an embodied aesthetics closes visual distance towards sensory intimacies and experiences of ecological processes as sensations. Throughout the article, I use an interlude structure that shifts between theoretical elaborations, narrative vignettes that contextualise the poetic practice, and the poems themselves initiated in the field. A continuum between visuality and multi-sensoriality emerges and potentially deepens human appreciation of flora. Poetic enquiry into flora is a means for exploring this continuum towards an understanding of what intimacy with plants in a place entails. (shrink)

The following article frames a particular case study: Jean-Luc Godard’s À bout de souffle (1960), referenced in the paper with its American title, Breathless. Foraging through the dense and sophisticated thicket of narrative, visual and textual features, the present study will attempt to untangle the overall intrinsic complexity of Godard’s film, as it exceeds simple commonalities between genre conventions or traditional stylistic approaches.The abrasive dialectical opposition that Breathless enacts against classical storytelling is indeed central to the specific cluster that can (...) be examined under the labels of “experimental cinema”, “auteur cinema”, “art cinema”, predicated on Godard’s abundant departures from cinematic (mainstream) norms.The methodology adopted in the article will encompass both a cultural studies approach and the visual strategies of textual analysis from the perspective of film studies. This will spur a close examination of Godard’s directorial style, paying attention to a rich plethora of technical devices inscribed within salient sequences and offset against the matrix of creative options presented by the French Nouvelle Vague. (shrink)

Water plants of all sizes, from the 60-meter long Pacific Ocean giant kelp (Macrocystis pyrifera) to the micro ur-plant blue-green algae, deserve attention from critical plant studies. This is the first book in environmental humanities to approach algae, swimming across the sciences, humanities, and arts, to embody the mixed nature and collaborative identity of algae. Ranging from Medieval Islamic texts describing algae and their use, Japanese and Nordic cultural practices based in seaweed and algae, and confronting the instrumentalization of (...) seaweed to mitigate cow methane release and the hype of algal photobioreactors, amongst many other standpoints, this volume comprehensively addresses the ancestors of terrestrial plants through appreciating their unique aquatic medium. (shrink)

This beautiful introduction to art and language features some of the world's most beloved masterpieces as it entices children to discover art, language, objects, and colors. First pictures, first words--this familiar and time-proven book concept for young children is incorporated brilliantly in this multi-lingual art book. The works of Renoir, Kandinsky, Dürer, Rousseau, Franz Marc, and others are featured in beautiful full-page reproductions. Opposite each image is a word that helps describe the painting--for instance "play," "bunny," "horse," "train." The words (...) are presented in twelve different languages, each with their phonetic pronunciation. Organized thematically, the book touches on a child's everyday experience through simple and comforting images that will invite further investigation: What are the men playing with? What does the bunny's fur feel like? How many teddy bears do you see? Together adults and children can explore great works, planting the seeds for an appreciation of the world's masterpieces and the words to describe them."--Publisher's description. (shrink)

This book provides an interdisciplinary study of how design and botanical science came together in the 19th century, examining the work of leading botanists, designers and illustrators such as Sarah Drake, John Lindley, Owen Jones and Christopher Dresser. It reveals how design reformers looked to 'art botany', the practice of basing decorative form and ornament on the hidden, natural laws that govern plant growth and structure, as a model for how to create and identify what is new and incorporate it (...) into what was already familiar and meaningful, in order to develop a national design aesthetic and a professional field of practice. (shrink)

Mimesis or imitation comes in many forms, from animal and plant mimicry to artistic copies 'from life'. This book offers eighteen essays addressing mimesis from diverse perspectives. From the recreation of galaxies to Iron Age torcs, from counterfeit dragons to modern waxworks, each chapter explores facets of material mimesis from prehistory to the present day. The Matter of Mimesis invites readers to compare practices of imitating, faking, and synthesising materials and objects in nature, art and science, raising questions about skills, (...) techniques and politics of making that transcend historical and disciplinary boundaries and inform both our past and future worlds. (shrink)

Alexander Hamilton presents his early formative years, sharing the way his engagement with the cyanotype process has informed his art practice, from his time at Edinburgh College of Art, to his program of exhibitions and residencies, through to his work within the field of public arts. This personal history is combined with essays by academics, scholars and curators who engage with the intellectual roots of his work and practice. A comprehensive selection of Hamilton’s photography, including his unique plant-based cyanotypes, completes (...) this beautiful book. (shrink)

In the article, the social structure of mountain-plant serf population of fief and seasonal plants in the Southern Urals in the first half of the 19th century is studied. It is noted that due to the kind of their activity, all mountain-plant population was in this or that way connected with plant work; according to their social structure they were peasants, bought for the plants, or were the owners’ private serfs. It is shown that because of the variety (...) of industrial work at a plant, the serfs of the plant-owners were categorized and differed according to the working conditions and possibilities of their own management. The Southern Urals is noted to have become the arena of private mining industry activity as compared to other areas of the country. The fact predetermining the social composition of factory population. The sources of formation and growth of the group of factory peasants of the Southern Urals are shown. In the article, the social structure is analyzed and social groups of factory peasants are described for three different mining areas of the region. (shrink)

This article examines the symbolism contained in the works of Jianzhi art. As a simple folk art, papercutting in Jinzhou has its own aesthetic and educational style that penetrates the hearts of people and raises them to a higher spiritual level. Jianzhi can represent the spiritual worldview of a certain era in the region. Among the symbolic images, images of animals, plants, figures, objects, hieroglyphs and patterns were studied. Jianzhi's works of art are combinations of various patterns, shapes and (...) motifs that contain deep symbolism. The study of images and symbolic meanings will expand knowledge about the culture and customs of the region, as well as create opportunities for the preservation of this unique art form containing the intangible cultural heritage of China. The article concludes about the uniqueness of the stylistics and symbolism of this art direction in the described region. It is claimed that Jianzhi's works reflect the culture, customs and peculiarities of the Jinzhou district society. From the point of view of intangible cultural heritage, the art of paper cutting in Jinzhou is the artistic embodiment of the material and spiritual culture of the people. It is concluded that it is necessary to preserve this kind of art and the subsequent study of its symbolism in order to preserve the intangible national heritage of China. (shrink)

This chapter examines art-historical classification and style-dating and evaluates their applications in establishing the connections between Ireland and Anglo-Saxon England during the seventh century. It describes the animals and plants in Christian objects and suggests that they are variants of the Germanic Animal Style II defined by Bernhard Salin. The chapter also argues that these objects reflect the relationships between the Anglo-Saxon and Irish ruling elites.

This essay focuses on the attention paid to Prometheus by Goethe and Schlegel. Prometheus serves as an archetypal figure for Goethe, in particular, and as such the Titan can be viewed as a figure whose various appearances represent genuine metamorphoses or transformations of the archetype in much the same manner that Goethe takes the archetypes of leaf or vertebrae to function in the plant and animal kingdoms. Schlegel’s treatment of Prometheus takes the organic analogy even further. In his fragmentary work (...) Lucinde Schlegel exploits the metaphorical possibilities provided by plant life when thinking about not only the sessile structure of the text as a whole but indeed the internal literary devices capable of simulating the environmental impacts required for the flowering of the plot. The fact that Goethe and Schlegel deliberately leave their discussions in a fragmentary form is discussed in the final section of the essay in a manner that ties the open-ended quality of such productions to Gadamer’s discussion of the Vollzug or performative character of poetry and other works of art. (shrink)

This paper studies European chemists’ shifting ontologies of materials by comparing the ways in which they classified materials. The focus is on plant materials, their different identities, and the changing ways chemists sorted out and ordered plant materials in the eighteenth and early nineteenth centuries. The main goals of the paper are to follow the development of plant materials from ordinary, everyday materials and commodities in the early eighteenth century to purified carbon compounds and organic substances familiar only to experts (...) in the 1830s, and to reconstruct chemists’ ways of classifying these objects in different practical and intellectual contexts.The study of changes in European chemists’ ways of classifying plant materials over more than a century brings to the foreground a trajectory of ontological shifts that is ‘punctuated’ in the 1750s, the 1790s, and the 1830s. Early eighteenth-century plant materials, which were commodities of the apothecary trade and other arts and crafts, were elevated epistemically as compound components or ‘proximate principles’ of plants in the 1750s, reduced to organic compounds in the 1790s, and replaced by carbon compounds in the 1830s. The last, third transformation of the epistemic constitution of materials and the mode of their classification was accompanied by a deep transformation of the material culture of plant chemistry. After the late 1830s, many of the eighteenth-century vegetable commodities disappeared from chemists’ agenda or were split into different substances individuated and identified in new ways. Coal tar products, and new organic artefacts containing chlorine or bromine, entered the chemical laboratory in the 1820s and became fused with the purified rest of the previous plant and animal substances. The material objects of the new culture of organic chemistry became detached from the materials applied in the extant arts and crafts. It was only in the late 1850s, with the rise of the synthetic dye industry, that a great number of these laboratory substances became involved in industrial production.Keywords: Commodities and scientific objects; Historical ontology; Classification; Plant chemistry; Organic chemistry. (shrink)

Since assisted reproductive technologies (ART) are becoming increasingly important in wildlife conservation breeding programs, we need to discuss their implications to ensure their responsible use regarding the environment, the animals, and the people involved. In this article, we seek to contribute to the ongoing ethical and philosophical debate on ART in conservation by discussing the current attempt to save the northern white rhino (Ceratotherium simum cottoni, NWR) from extinction. Only two female NWRs are known to the world, both unable to (...) carry a pregnancy, and the last chance to avoid sure extinction relies on pushing the boundaries of contemporary science through the use of advanced ART and stem cell-associated techniques. The attempt to save the NWR constitutes a valuable testbed for assessing the use of ART in conservation and an occasion for identifying possible critical issues. It touches upon several ethically relevant points—that we identify and organize in an Ethical Matrix—such as the need to guarantee animal welfare, and it provides the opportunity to discuss some significant questions related to conservation. For instance, how far is it legitimate to go in trying to save a taxon? Is using sophisticated technologies to remedy anthropogenic harm a part of the problem rather than the solution? (shrink)

So far I have taken prose and poetry where admittedly they exist, in literature, and attempted to discover the difference between them by taking pieces of prose or poetry which have the same or much the same subjects and comparing them with one another. In all these pairs of passages I thought I could detect this difference: that in the poem the subject as rendered in words acquires a life of its own, is a living thing, as it were, living (...) its own life like an animal or plant, is organic, and, in a word, concrete. While the prose, for all its constructive unity, is not self-subsistent, but is descriptive of a given subject, even though that subject is itself created by the writer, as in a novel, and, in a word, is analytic. It is not the greater passion or vividness of the poem, for prose may be vivid, as in Carlyle, and passionate, as in Burke. It is that the poet places himself and places his hearer within the subject itself, and works from within outwards, while the prosaist describes relatively from without. Both of them describe, the poet as well as the prosaist. But the prosaist builds up his subject so as to bring it before your mind. The poet starts with his subject in its integrity, places the hearer's mind within it, and his exposition is the unfolding life of the subject itself. (shrink)

What can we learn from plants? Which forms of intelligence and knowledge can we discover by dedicating ourselves to understanding the life of a plant, its characteristics, interactions with the environment and cultural narratives? This article aims to bridge recent studies in plant intelligence, Semiotics and creative processes. Departing form the idea that the world arrived at a critical situation and the planet Earth cannot continue being exploited as an infinite source, we argue that it is necessary to promote (...) transformations in our culture, abandoning the anthropocentric framework and looking for new perspectives. In this sense, connecting communication, art, science and education, the purpose of Plant Portraits is to create experiences and propitiate encounters that catalyse the awakening of an expanded and integrated consciousness. (shrink)

So far I have taken prose and poetry where admittedly they exist, in literature, and attempted to discover the difference between them by taking pieces of prose or poetry which have the same or much the same subjects and comparing them with one another. In all these pairs of passages I thought I could detect this difference: that in the poem the subject as rendered in words acquires a life of its own, is a living thing, as it were, living (...) its own life like an animal or plant, is organic, and, in a word, concrete. While the prose, for all its constructive unity, is not self-subsistent, but is descriptive of a given subject, even though that subject is itself created by the writer, as in a novel, and, in a word, is analytic. It is not the greater passion or vividness of the poem, for prose may be vivid, as in Carlyle, and passionate, as in Burke. It is that the poet places himself and places his hearer within the subject itself, and works from within outwards, while the prosaist describes relatively from without. Both of them describe, the poet as well as the prosaist. But the prosaist builds up his subject so as to bring it before your mind. The poet starts with his subject in its integrity, places the hearer's mind within it, and his exposition is the unfolding life of the subject itself. (shrink)

Considering the ways in which plants move and shape the places of their growth, this article suggests that performing arts should account for the vegetal model of movement. The implications of including plants in the category of “moving beings” are vast, as they touch upon the dynamic relation between immanence and transcendence, questions of time-scales appropriate to different kinds of beings and their responses to the environment, and phenomenologies of place corresponding to diverse forms of life. I argue (...) that although, for humans, performing vegetal movement is “performing the unperformable,” art grants us a unique access point to experiencing what is entailed in such movement and in the places wherein it unfolds. (shrink)

Ch. 1. Divine plants and magical animals -- Ch. 2. Aesthetic effects of domestication -- Ch. 3. The rainforests of domestication -- Ch. 4. The rise of ornamental plants -- Ch. 5. Darwin's sublime -- Ch. 6. Playing God -- Ch. 7. Standards of excellence -- Ch. 8. Doubles -- Ch. 9. Kitsch plants -- Ch. 10. Bastard flowers -- Ch. 11. Biotechnology in the garden -- Ch. 12. Recent art involving DNA -- Ch. 13. Naming life (...) -- Ch. 14. Anthropocentrism and genetic art -- Ch.15. The angel of extinction -- Ch. 16. Seven breeding complexes -- Ch. 17. The slowest art -- Ch. 18. Breeding for wildness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing Studio Art and Its StudyHistorical Relations and Contemporary ConditionsElizabeth M. Grierson (bio)Yet art is nevertheless an inquiry, precise and rigorous.—Maurice BlanchotIntroductionThe modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" at (...) that time is not at issue here.1 What is of concern is to identify the ways the academy—and specifically the art academy—sought to respond by rethinking disciplinary knowledge and thereby problematizing traditional methodologies of scholarly inquiry. Through the academic privileging of aesthetics and scientific discourses, modern knowledge brought with it a metanarrative appeal to the transcendence of the human spirit through art and religiosity, coupled with the identification of the rational human subject as agent of progress. This discussion is concerned with asking how these metanarratives were intervened or interrogated through art and its study and how those moments of displacement could be identified and analyzed. Ultimately, we may address the question of how discourses of power operate to normalize social practices and silence difference in institutional practices of art and art education. [End Page 111]Crisis in the DisciplinesIn 1982 an issue of Art Journal was dedicated to the theme of the crisis in the disciplines. However, as Donald Preziosi2 points out, if the disciplines of art and art history were deemed by Art Journal to be in crisis, there was only one article (by Oleg Grabar) in that journal issue that addressed this crisis and problematized "the history of the discipline and its methodological prospects for the future."3 In other words, if there was a crisis, and art educators or art historians were feeling it, what constituted the crisis was not yet being addressed. What is of interest is that this was a time when the object of study was under reconsideration and art and its history were part of a revisionist climate of scrutiny and reconsideration. This being so, there was significant expansion to the way fine arts and art history were being approached in the 1980s and 1990s in response to revisionist scholarship. This trend continued to be reinvigorated with the transformations of digital technologies in the 2000s.Art academies of the early 1990s in New Zealand and Australia were starting to grapple with methodological regimes of art history as a discipline in the context of intellectual challenges of postmodernity. Directing these issues to artists and their scholarly needs, educators were opening the discrete academic disciplines to wider intellectual, social, and cultural possibilities of inquiry. Standing before a "great" work of art and proclaiming its greatness had lost its meaning. Jean-François Lyotard had written it thus: "The time is past when we can plant ourselves in front of a Vernet and sigh along with Diderot, 'How beautiful, grand, varied, noble, wise, harmonious, rigorously coloured this is!'"4Threading throughout this discussion is the way one particular art academy was facing this challenge in those postmodernist years of the 1990s. The account tells of processes and principles of pedagogical change, but the implications of this case are not limited to one academy in one location. It was the early 1990s, and the writers of the first degree nominated as "visual arts" in New Zealand were addressing some of the issues of disciplinarity in fine arts and art history. This was the first degree situating what might be called a postmodernist pedagogical approach to fine arts studio and its study. This was at a time when changes in the New Zealand Education Act (1989, 1990) enabled degrees in art to be formally accredited and resourced in tertiary institutions beyond the long-established universities of Auckland (North Island) and Canterbury (South Island). This political move gave opportunity for educational innovation in the pedagogies of fine arts and art history. It was in this context that one independent art school in Auckland, ASA School of Art, seized the moment to work toward a more interdisciplinary notion of practice and theory. Given the opportunity to introduce a more... (shrink)

A case study of growers conception of irrigation strategies indicates that pot plant growers in Scandinavia base their management approaches on experientially based art. The study also indicates that there is a gap between experientially based art and available greenhouse technology. In order to standardize production and produce quality, both the grower’s experience and available technology should be taken into account. In order to achieve this, the present study proposes to arrange reflection on reflection in action with a group of (...) growers by means of the dialogue seminar method. The concept of reflection on reflection in action is novel to horticultural practice. Therefore, we suggest future inter- and multidisciplinary research within this domain. (shrink)

This article examines the early modern household's importance for producing experimental knowledge through an examination of the Halifax household of Margery and Henry Power. While Henry Power has been studied as a natural philosopher within the male-dominated intellectual circles of Cambridge and London, the epistemic labour of his wife, Margery Power, has hitherto been overlooked. From the 1650s, this couple worked in tandem to enhance their understanding of the vegetable world through various paper technologies, from books, paper slips and recipe (...) notebooks to Margery's drawing album and Henry's published Experimental Philosophy. Focusing on Margery's practice of hand-colouring flower books, her copied and original drawings of flowers and her experimental production of ink, we argue that Margery's sensibility towards colour was crucial to Henry's microscopic observations of plants. Even if Margery's sophisticated knowledge of plants never left the household, we argue that her contribution was nevertheless crucial to the observation and representation of plants within the community of experimental philosophy. In this way, our article highlights the importance of female artists within the history of scientific observation, the use of books and paperwork in the botanical disciplines, and the relationship between household science and experimental philosophy. (shrink)

A reader of previously published and new material (interviews with artists and theorists) devoted to the new and growing field of critical plant studies, and a reader that practices what it covers by arranging and intertwining its contents through a non-hierarchical and articulated manner that allow for different, alternate reading pathways.

In lieu of an abstract, here is a brief excerpt of the content:Particularity, Presence, Art Teaching, and LearningJulia Kellman (bio)The Awful, the Particular, and the TranscendentYears ago in a life drawing class during graduate school, for who knows what reason, I chose to focus my drawing on the model's head and not on her entire form. She was wearing an enormous and elaborate black velvet hat with yards of veiling and several large red silk roses. The combination of textures, shadows, (...) colors, forms, and the suggestion of a story, of meaning beyond the exercise itself, drew me in I think. Using an entire large sheet of tan-colored drawing paper, soft vine charcoal, and a kneaded rubber eraser I began to draw, moving from the impossible hat to the model's high cheekbones, deep-set shadowed eyes, soft cheeks, and curved neck. Somewhere between the top of the paper (the crown of her hat) and the woman's face, however, my hand, my self, the drawing, the young woman, and the hat merged by some means outside my control. I was the act of drawing. I was the charcoal, the curved cheek, the dark eyes, the wonderful hat. There were no boundaries among us. No distances. The drawing, it seemed, drew me at the same time that it revealed an image of the model and her black velvet hat on the paper and tied me to the woman seated before me. I was exalted, transported, amazed.Now, as I think back to that drawing, I understand it as my first clear art experience of doing, not thinking, being, not observing that all artists encounter on their best days. It was, in another way of considering, my initial encounter with the fact that "the imaginative faculty, especially as engaged in the art process is one of the strongest and clearest ways in which we can learn within the qualitative, immediate present, within kairotic as opposed to chronic time, or within the eternal present,"1 as the art educator Kenneth [End Page 51] Beittel explains. Or, put another way, it was my experience with the fact that, as the writer Lawrence Weschler suggests in his biography of the artist Robert Irwin, "Seeing is forgetting the name of the thing one sees."2 Or, as the sculptor Anne Truitt explains, drawing can be "a direct channel between one's [my] experience and one's [my] hand."3This transformation from a distinct see-er and seen to a single entity sharing both time and space, from a distant relationship to intimacy, from a world of the generalized to the place of the particular brings us to the intertwined themes of this article: the importance of the awesome transcendent particularity of the singular—person, creature, place, object, plant, or moment in art and, similarly, religious contemplation and the likeness and/or overlap of artistic engagement with spiritual experience.In order for us to examine the artist in the midst of creating, and to explore our theme of art's relationship to the awful (think of the older usage meaning "full of awe" here) particularity of thisness as John Dun Sotus4 describes the perfection of the particular and specific, as well as to explore the relationship of art making, art learning, art teaching, and spiritual experience, exemplars are necessary. Our first exemplar is Gordie, a member of the art class I teach at a local hospital. He, as much as anyone, exemplifies artistic engagement with the current moment, its thisness in fact, and he illustrates the art maker's/learner's engagement with pure doing in the act of creating an image. Our second exemplar, the filmmaker, writer, and painter Derek Jarman,5 exemplifies by his lifetime of creative accomplishment an artist in the most literal manner. And even in the last years of his life—as sculptor, gardener, landscape designer, writer, and creator of a place of great beauty—he illuminates in both his words and in his garden his engagement with the present moment, with particularity, and with the spiritual quality that permeates his world.Gordie's Tale: Art and FlowersGordie accompanied his friend Roger to the first art class to be held at the hospital for people with... (shrink)

In the early eighteenth century, chemistry became the main academic locus where, in Francis Bacon's words, Experimenta lucifera were performed alongside Experimenta fructifera and where natural philosophy was coupled with natural history and 'experimental history' in the Baconian and Boyleian sense of an inventory and exploration of the extant operations of the arts and crafts. The Dutch social and political system and the institutional setting of the university of Leiden endorsed this empiricist, utilitarian orientation toward the sciences, which was forcefully (...) propagated by one of the university's most famous representatives in the first half of the eighteenth century, the professor of medicine, botany and chemistry Herman Boerhaave. Recent historical investigations on Boerhaave's chemistry have provided important insights into Boerhaave's religious background, his theoretical and philosophical goals, and his pedagogical agenda. But comparatively little attention has been paid to the chemical experiments presented in Boerhaave's famous chemical textbook, the Elementa chemiae, and to the question of how these experiments relate not only to experimental philosophy but also to experimental history and natural history, and to contemporary utilitarianism. I argue in this essay that Boerhaave shared a strong commitment to Baconian utilitarianism and empiricism with many other European chemists around the middle of the eighteenth century, in particular to what Bacon designated 'experimental history' and I will provide evidence for this claim through a careful analysis of Boerhaave's plant-chemical experiments presented in the Elementa chemiae. (shrink)

It is provocative, but not uncommon, to compare the work of art to a plant. Art is inseparable from the aim to pass on knowledge to future generations, just as plants strive to reproduce. This paper forwards the art-plant hypothesis that views works of art and plants not only as structurally similar, but teleologically united. We look to two models of art to test this hypothesis: earthworks of the land art movement, and the ancient Greek concept of craft (...) or techne. Plant grafting serves as an example artform that is instructive for crafting a more sustainable world. We approach plant grafting as a sustainable technology in an age of genetic monopolization, and as a powerful metaphor for our common roots and responsibility to create a better world. (shrink)

By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. (...) A Chinese painter-poet within the ‘mountain-water’ genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 41-50 [Access article in PDF] Encounter Between Hyper-Media and Art Education:A Retrospection of Jean-Jacques Rousseau or Memories of Art and EducationToday both art and education are experiencing profound change as a result of emerging technologies. This essay attempts to redefine art education by considering the latest media art as the culmination of change in art. Statements about art education are only viable (...) in the meta-context of art, as art education must start with the work to objectify, as well as structure, "art." Atthe same time, these meta-statements can cast light on the "foundation" of art.Attempts to view the totality of art up to the present time from the "end" of history (meta) and questioning of the "beginning" of art and mankind (foundation) are two sides of the same phenomenon.Media art is an example of this phenomenon which reflects both the meta-context and foundation of art. For example, the work of Jean-Louis Boissier boasts both a radical as well as refined image. 1 His exhibition, "Salle Rousseau" further extends the scale of his conventional work based on the texts of Jean-Jacques Rousseau. 2 This essay revises the text written for the catalogue for the exhibition and aims at analyzing the close relationship between media art and art education, sketching the phases of [End Page 41] meta-statements and foundations which emerge as a result of the interaction of art, media, and education. A Place for Retrospection Boissier's work is well-known for its references to Rousseau. Having been involved in art education, it was natural for me to develop a strong interest in Rousseau, whom I consider to be a founder of modern art and education. The fact that the Boissier's exhibition was held at the "Kyoto Art Centre" in Muromachi, Kyoto supports this belief. Kyoto was the first place in Japan where primary schools based on the school district system were introduced. The Kyoto Art Centre is located at the former Meirin Primary School which was founded at the dawn of modern Japanese education. In its turn, Meirin Primary School succeeded Shingaku-juku. 3 Thus, the location for the BoissierExhibition, dating back to the very beginning of education in Japan, is a place that encourages reflection on the past.While Boissier recollects Rousseau with his unique interactive texts, Rousseau recollects his own past. We, the spectators, are immersed in multiple layers of memories and recollections. Sometimes, however, Rousseau's recollections break through the intricacy and multiple layers and appear to achieve a rapport with the people and flowers which once existed. I have long been attracted by the fresh literal expressions particularly evident in "The Confessions" and other works. The beauty of such expressions must have been born from his affectionate view of nature as illustrated by his hobby of plant collection. View of Nature I cannot help recalling Rousseau whenever I think about the relationship between nature and mankind. Rousseau was a person who could talk beautifully about the direct relationship between nature and mankind. In his writings of "Les riveries du promeneur solitaire" and "Quoted Passage," Rousseau recollects his peaceful life on St. Pierre Island in Lake Bieler in Switzerland where he spent nearly one and a half months after being deported from France as well as his hometown, Geneva because of problems caused by the publication of The Social Contract and Emile. For me, this text is inseparable from the looped image of shallow water which forms the background of the work entitled Flora petrinsularis (1993 and 1994) by Boissier.The beautiful text by Rousseau captivates us without any external help and, at the same time, shows what nature meant to him. The relationship with nature described here is the food as well as foundation of his life. This attitude of accepting nature in the deepest part of his mind is pure agreement with nature as pointed out by Jean Starobinski and represents an experience of fusion... (shrink)

While art is omnipresent in human history, the neural mechanisms of how we perceive, value and differentiate art has only begun to be explored. Functional magnetic resonance imaging studies suggested that art acts as secondary reward, involving brain activity in the ventral striatum and prefrontal cortices similar to primary rewards such as food. However, potential similarities or unique characteristics of art-related neuroscience remain elusive, also because of a lack of adequate experimental tools: the available collections of art stimuli often lack (...) standard image definitions and normative ratings. Therefore, we here provide a large set of well-characterized, novel art images for use as visual stimuli in psychological and neuroimaging research. The stimuli were created using a deep learning algorithm that applied different styles of popular paintings on ordinary animal, plant and object images which were drawn from established visual stimuli databases. The novel stimuli represent mundane items with artistic properties with proposed reduced dimensionality and complexity compared to paintings. In total, 2,332 novel stimuli are available open access as “art.pics” database at https://osf.io/BTWNQ/ with standard image characteristics that are comparable to other common visual stimuli material in terms of size, variable color distribution, complexity, intensity and valence, measured by image software analysis and by ratings derived from a human experimental validation study [n = 1,296, age 30.2 ± 8.8 y.o.]. The experimental validation study further showed that the art.pics elicit a broad and significantly different variation in subjective value ratings as well as in recognizability, arousal and valence across different art styles and categories. Researchers are encouraged to study the perception, processing and valuation of art images based on the art.pics database which also enables real reward remuneration of the rated stimuli and a direct comparison to other rewards from e.g., food or money.Key Messages: We provide an open access, validated and large set of novel stimuli of standardized art images including normative rating data to be used for experimental research. Reward remuneration in experimental settings can be easily implemented for the art.pics by e.g., handing out the stimuli to the participants, as done in the presented validation task. Experimental validation showed that the art.pics’ images elicit a broad and significantly different variation in subjective value ratings across different art styles and categories, while size, color and complexity characteristics remained comparable to other visual stimuli databases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Artforum, Andy Warhol, and the Art of Living:What Art Educators Can Learn from the Recent History of American Art WritingDavid Carrier (bio)When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist accounts (...) of abstract painting. Seeking precedents for the painting I admired, I looked to the history of art. But such pleas for the value of tradition were doomed. Commentators preaching the values of tradition lost out to the writers emphasizing a break with the past. Much of interest for art education can be learned by studying the history of this very influential, small circulation journal.Only in retrospect did the urgency of this felt need for a break with the past become apparent. The history of responses to Abstract Expressionism suggested a different way of thinking about moments of change. HaroldRosenberg's conception of "action painting" implied that Pollock broke dramatically with the past. Clement Greenberg, by contrast, in a famous phrase said: "I do not think it exaggerated to say that Pollock's 1946-1950 manner really took up Analytic Cubism from the point at which Picasso and Braquehad left it...in their collages of 1912 and 1913."2 Greenberg's counter-intuitive analysis, asking us to see very different looking paintings as essentially similar, had prevailed. So it was not unreasonable to expect that after Greenberg, concern with tradition would remain important. But that was not what happened.Demand for a break with the past often carries political overtones. Historians debate whether the French Revolution broke with the past, or merely developed trends of the old regime. The idea of a complete break with tradition can seem attractive, but of course such dramatic ways of thinking underestimate real continuities. Struggle among post-Greenbergian artwriters to define a new critical paradigm mimics conflicts among artists to define the [End Page 1] leading post-Abstract Expressionist tradition. Once a critical paradigm has been established, debate may proceed peacefully. But when defining a period style is at issue, the stakes are high, and so conflicts are ferocious. Of course, struggle is always accompanied also by co-operation, but failing to grasp the real role of conflict leads to all-too-pious visions of what is possible.Greenberg developedthe most influential critical approach, and so when his way of thinking was rejected, a radically different approach was of most interest. Here we are dealing with what Harold Bloom famously called the anxiety of influence. Just as the most interesting painting after Abstract Expressionism deconstructed that tradition, so in criticism no ways of thinking too similar to Greenberg's stood a chance of being important. I think it interesting to reconstruct the process rationally in which an individual obtains such power. A totem, Freud explains, is "an animal (whether edible and harmless or dangerous and feared) and more rarely a plant or a natural phenomenon (such as rain or water), which stands in a peculiar relation to the whole clan."3 The communion bread and wine are just bread and wine, but for the believer they become Christ's body and blood. Rationally speaking, a representational painting is just pigment on canvas; and a minimalist sculpture, just shaped metal. But in what Arthur Danto calls the "transfiguration of the commonplace," "a work of art...has qualities to attend to which its untransfigured counterpart lacks...We are dealing with an altogether different order of things."4 Greenberg became a totem. He was not just an important writer whose arguments entitled him to reasonable respect. The mere mention of his name invoked irrational fears.Greenberg was obsessed with tradition. Abstract Expressionism was rooted in early modernism, so that the era from Manet through Pollock defined a period style. Greenberg's historiography may seem inescapable. How can a young painter be understood except by seeking precedents for her achievement? Cannot the now famous artists who emerged in the 1980s be understood in these terms? Barbara Kruger comes out of John Heartfield and dada... (shrink)

This book inquires into the swarm of ontological, epistemological, and ethical questions provoked by psychedelic experience in the context of global ecological crisis. Richard M. Doyle is professor of English and science, technology, and society at Pennsylvania State University. He is the author of On Beyond Living and Wetwares.

The artist understands his work as intimately connected with the life and symbolism of plants. Art, thus, demands an attunement to life’s elemental operations, the thrust “into dimensions far removed from the conscious process.” The first part of the present essay aims at recovering what is implied in the imagery of trees, delving into ancient archives of dormant collective memories and immemorial imaginal stratifications. The second and third parts, deploying the re-energized figure of the tree, explore the theme of (...) the relation between art and life, indeed, what Klee calls the “art of life.” By reference to Klee’s 1924 Jena lecture and the artist’s diaries, the discussion addresses the intersecting themes of artistic formation, mindful self-formation, the vital importance of worldly roots, and the transcendent fragrance of flowers and fruits. (shrink)

In this article, I advance how the work of transfeminist artistic collective Quimera Rosa formulates new understandings of gender and sexuality in the attempt of ‘becoming plant’. I will first analyse their earlier post-porn work and the use of hacked devices for the formulation of human/nonhuman erotic connections. I will then move to their most recent Trans*Plant project, which involves a human – plant transition. In relation and comparison to the notion of ‘ecosexuality’, I will finally draw an anti-capitalist, posthuman (...) sex/gender practice that radically escapes legibility and identity formulations to create open-ended planetary erotic alliances. (shrink)

continent. 2.3 (2012): 224–228 Introduction Jamie Allen Thierry Geoffroy’s conceptual, event- and environment-based art practice has generated over two-decades of definitional activity around what he terms “format art.” The works re-galvanize the energies of a syndicatable, open and atmospheric arrangement, of varying specifics dependent on context, participants and environment. With formats like the Emergency Room, Biennalist, and the Critical Run, Geoffroy endeavors to imbricate art and artist in the most exigent and current of social, political and mediatised spectacles. The result (...) seems to plant us at a triangulation of the configurations proposed by Alan Kaprow, Andrea Fraser and Alan Abel. Geoffroy plays up a guileless innocence (at times sporting the “Naive Blue Helmet”) as he interviews spectactors at the 2012 dOCUMENTA13 exhibitions in Kassel, Germany. What he evokes is a declamation of the appropriative, unenthusiastic, cool inclinations of the mainstream art festival, the profligate biennial (triennial, quadrennial, etc.) circuit and national and global ideological cultural-engines. In propositional artifacts, definitional articles and direct transmissions from Geoffroy’s Emergency Room field office at dOCUMENTA13, the masking of an emergency is here questioned: Can an art show like dOCUMENTA be dangerous? —JA Is dOCUMENTA designed to make people cry about something and not make them see something else? Is the contemporary a distraction from the present? Can art in delay have any impact with today? Do we learn anything by seeing art shows reflecting on history? Could 860,000 visitors have been intoxicated by an apathic gaze than keep them away from reacting? Why is dOCUMENTA proud of having recieve no critic? Why is proximity less important? Why was dOCUMENTA in Kabul? Can weapons designed to kill protesters sold to a repressing regime be contradictory to the support of the Arab Spring? Is the contemporary like a flea market to avoid to debating the important topics of today? Can art be in advance of the broken arm, and avoid accident? Is the goal of dOCUMENTA to create a revolution or to entertain? Is dOCUMENTA betterly done than Disney Land? Is it better to watch Fox News for two years or to go to dOCUMENTA for two days? If a curator, curating a contemporary art show about war, forgets to debate about the weapons factories next door, should it be considered as a professional mistake? Is it OK to employ philosophers to promote vodka? Is navigation a threat? Can an art show like dOCUMENTA be dangerous? Thierry Geoffroy / Colonel author of the month Global Art and the Museum @ZKM: " THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK " Link to Emergency Room Dictionary < /a> "COOLNESS" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Biennalist at dOCUMENTA 13 "TIRED" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Link to " APATHY " (from the Emergency Room Dictionary ) AWARENESS MUSCLE [fr. muscle de la conscience ] In the same sense memory can be trained, an awareness muscle can be developed by an effort. To develop the awareness muscle, the artist has to reduce his gesticulations. When an artist is busy the artist is not very aware the artist is occupied. A daily training is necessary But how to train? Scanning the news in a critical way could be one exercise. Daily debating politics with others could be another. Looking at other point of views usually produces significant improvements. Fighting prejudice is an excellent exercise. Many other forms of training could also produce beneficial effects for the awareness muscle. Continuous and daily training is important. For instance rewinding and slow motioning what has been absorbed getting away the sugar from the propaganda machines talking to everyone excercise comparatif critical run. If not daily trained the awareness muscle can degrade into atrophy To develop the awareness muscle requires will-power Thierry Geoffroy / Colonel. (shrink)