Essential skills and attitudes necessary for active citizenship need to be cultivated as early as prekindergarten. This exploratory study investigated if three and four-year olds could be actively engaged in social studies practices through inquiry learning in a school garden. Eleven children openly interacted and conducted personally-driven investigations on a daily basis in the school garden located on their playground over nine-months. Three interviews with children, teacher observation notes, and lesson plans were analyzed to discover whether NCSS preK-12 learning themes (...) (2010) for the social studies curriculum could be correlated with garden inquiries. Three prevalent NCSS themes surfaced from data analysis with Civic Ideals and Practices, People, Places, and Environments, and Time, Continuity, and Change being most prevalent. Results imply that working in a school garden through inquiry learning can foster the development of democratic competencies and thus, could be used to design C3 lessons for preschoolers in the garden. (shrink)

In this paper, we argue that Midjourney—a generative AI program that transforms text prompts into images—should be understood not as an agent or a tool, but as a new type of artistic medium. We first examine the view of Midjourney as an agent, considering whether it could be seen as an artist or co-author. This perspective proves unsatisfactory, as Midjourney lacks intentionality and mental states. We then explore the notion of Midjourney as a tool, highlighting its unpredictability and the limited (...) fine-grained control users have over its outputs, which sets it apart from traditional artistic tools. We propose that creating images with Midjourney parallels a gardener's interaction with natura naturans—nature's autonomous generative processes. Similarly, Midjourney acts as machina naturans, where users engage with its dynamic recalcitrance to influence, but not fully control, the creative process. This approach presents Midjourney as an artistic medium shaped by its inherent unpredictability. (shrink)

In The Inviting Garden, Allen Lacy speaks for the great number of dedicated and committed gardeners who share his passion for green and growing things and who take pleasure in all the rich satisfactions that the personal garden offers its makers. He also invites the beginner to take the plunge--to set forth on the lifelong journey that is the gardener's way of life. Gardening, Lacy explains with great eloquence and good humor, is much more than a hobby. It delights (...) all the senses, each in its turn. It offers virtually less intellectual stimulation. It has a profound spiritual dimension, as a basis for the lifelong friendships that bind people together in the common and shared pursuit of making the earth flourish with beauty. Its joys are unlimited, for they engage its practitioners as whole persons, not partial beings. With the kind of tantalizing prose that makes you want to reach for a trowel, Allen Lacy gives us a deeply thoughtful book on the whole enterprise of gardening. (shrink)

The Garden of Leaders explores two related questions: What is leadership? And what sort of education could prepare young people to be leaders? Paul Woodruff argues that higher education--particularly but not exclusively in the liberal arts--should set its main focus on cultivating leadership in students. Woodruff advances a new view of liberal arts education that places leadership at the root of everything it does, so that students will be prepared to lead in their lives and careers--and not necessarily in management (...) roles. Woodruff views the contemporary university as sorely lacking an emphasis on leadership, and presents three core sets of recommendations for how they can and should foster it. First, Woodruff posits co-curricular groups, activities, and projects as essential activities for students to gain confidence and leadership skills. Administrations should encourage students to engage in activities outside the classroom, convert coached sports teams into student-led clubs as far as possible, and discourage social organizations that are segregated by race or sex. Second, Woodruff advocates for a different curriculum for all undergraduates, no matter their major-arguing that they need to be taught leadership in the forms of key skills including communication, as well as exposure to key material in history literature, social science, and ethics. Students should be asked to consider the hardest ethical dilemmas that leaders face, toggling between Machiavelli and great ethical thinkers such as Confucius and Socrates. Third, Woodruff calls for the teaching methods used by instructors to re-orient themselves around the question of leadership, particularly by emphasizing teamwork. Professors should respect their students' independence, avoid tyrannical teaching, and remember that all teachers teach ethics simply by the examples they set in dealing with students. Whether in engineering, music, or classics, The Garden of Leaders advances leadership as a core value that should be at the heart of the educational enterprise-contending that while a college campus can be many things, it should at the very least be a ground upon which new leaders can grow. (shrink)

This stunning paperback volume showcases the winners and best entries for the International Garden Photographer of the Year competition and accompanies a major exhibition at the Royal Botanic Gardens, Kew, in May 2011 and touring the UK and USA thereafter. ‘The contemporary camera maybe a technological marvel but it can’t take photographs, only the photographer can do that. To succeed it involves making an incredible complex of choices and only one chance in the entire history of time to make (...) them as close to perfect as possible. A carefree snap - easy, a composed and considered picture, well, that requires a synergy of skills and perhaps a dash of genius. So that's why this album is such a treat to revel in, its a feast of the worlds best gardens, gardeners, the plants and animals growing and living in them in the very best photographic forms. The images will 'wow' you, make you wish you had been there, wish it was your garden in the picture or wish you had squeezed the button. It’s a testament to a huge array of skills and a catalogue of remarkable beauty’. Chris Packham – BBC Presenter and photographer. (shrink)

From a transcultural stance the contribution explores an access to the problem of nature and time which relies on our embodied experience of our environment. By means of a phenomenological investigation into distinctive features of Japanese gardens, such as rocks and trees, the specific temporalities incorporated in these elements become elucidated. The intention is to invalidate the Eurocentric opposition of nature and culture, as the “natural” environment grows together with “cultural” activities, and cannot be separated from human engagement, in (...) the case of Japanese gardening. There “nature” cannot become objectified or conceptually determined. It can only be disclosed by our bodily getting involved in an environment, encompassing a peculiar way of “becoming time”. This mode of temporalization exhibits significant similarities with Martin Heidegger’s Gelassenheit. Therefore, time and nature in a Japanese garden both request and set forth, a specific existential attitude towards our life environment. (shrink)

This research contributes to emergent theories on subject formation by showing how community garden participants in a small rural town in Northern Peru came to embrace a set of ideas and practices related to organic agriculture. Most CG scholarship describes the myriad benefits for participants and their communities, as well as individuals’ motivations for wanting to grow their own food. Relatively little research has explored how various kinds of gardens and their organizers produce subjects. Drawing from scholarship on community (...) gardens and subject formation, I examine the emergence of what I call an “organic subjectivity” among garden participants. Based on interviews and fieldwork conducted in Peru, I argue that the making of organic subjects in the CG is the result of three primary influences: the changing agrarian context in the community marked by the adoption of conventional farming practices, the influence of the garden organizer as the agent of an organic ideology, and the material practices associated with CG participation. This case study reinforces the notion that CGs produce subjects and that such subjects could well be oriented towards an agenda of progressive agrarian change that promotes environmental awareness and ecological farming practices, key elements of emerging alternative food networks in the global North and South. (shrink)

With an increasing awareness of what they eat and the provenance of their food, people nowadays often raise such questions as where does the food come from? How is it produced? This concern over food ingredients and origins has resulted in a burgeoning interest in growing one's own food, both for the satisfaction in having done it oneself and for the assurance of food quality and safety. But how to grow one's own food in the midst of an urban (...) metropolis? How to do it without a real garden?This book points the way, especially for beginners and those who may only have a balcony or a rooftop and are limited to growing in containers. It is not just about gardening in a narrow sense. It delves into the growing of plants as a multidisciplinary activity involving not only botany, but also zoology, geology, meteorology, philosophy, ornithology, and more. The book sends a strong environmental message for a reevaluation of modern lifestyle. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Philosophy of GardensRonald MooreA Philosophy of Gardens, by David E. Cooper. Oxford: Oxford University Press, 2006, 173 pp., $35.00 cloth.It is very likely that more people devote more aesthetic attention to gardens and their contents than they do to any other set of objects in the art world or in natural environments. Despite this, however, there has been very little philosophical writing devoted specifically to (...) the aesthetics of the garden experience. Mara Miller (The Garden as an Art, 1993) and Stephanie Ross (What Gardens Mean, 1998) have written important studies of gardens from the philosophical point of view. John Dixon Hunt has written several philosophically informed studies from the historical point of view (The Figure [End Page 120] in the Landscape: Poetry, Painting, and Gardening during the Eighteenth Century, 1976; Gardens and the Picturesque: Studies in the History of Landscape Architecture, 1992; Garden and Grove: The Italian Renaissance Garden in the English Imagination, 1600-1750, 1996). But apart from this valuable handful of discussions, the subject area has received scant scholarly attention. David Cooper's new book, A Philosophy of Gardens, is a very welcome addition to this underscrutinized field of inquiry.Cooper makes it clear at the outset that he does not aim to answer the questions regarding gardens that have attracted most philosophical attention to date, questions like "How do we define 'garden'?" "What are the standards of comparative aesthetic garden quality?" and "Should gardens be regarded as chiefly works of art or as products of nature?" Such questions are both important and quite predicable in the context of late-twentieth-century Anglo-American philosophy. Cooper aims to redirect attention to what he calls the deeper question of the significance of gardens, a question that turns out ultimately to be about the way in which gardens represent a serious contribution to "the good life." The good life, as he speaks of it, is neither la dolce vita nor the life of strict moral virtue. Rather, it is something approximating Aristotelian eudaimonia, a life in which inculcated capacities and strengths of character lead to informed and appropriate ways of acting, feeling, and evaluating.This is an attractive and unconventional project, one that spills over from aesthetics into ethics, philosophical anthropology, and (ultimately) theology. The clever argument that Cooper develops makes the project intriguing and informative, even in a few areas where its conclusions are not altogether convincing. Key to Cooper's distinctive approach is his insistence on regarding gardens not merely as focal objects of aesthetic regard and appreciation but also, and more importantly, as settings in which people engage in a range of distinctive, virtue-inducing practices. Some of these practices (for example, planting, cultivating, and pruning) foster personal virtues by requiring the submission to the discipline of caring and informed superintendence. Others (for example, conducting garden parties, swimming in a garden pool, indulging in solitary reverie) foster both personal and communal virtues by locating human pursuits in a setting that itself exemplifies vitality, change, and thriving. Cooper insists that it is only through the infusion of human activity in working cooperatively with nature to create them and then in dwelling in them appreciatively that gardens reveal their true meaning.The proper notion of garden meaning, Cooper argues, does not conform to either of the two canons of appreciation that have dominated discussion to date—the art model and the nature model. The art model fails because, in its effort to align the appreciation of gardens with that of landscape painting and other familiar aesthetic artifacts, it neglects gardens' fundamental condition as places where living, growing things call upon us to tend them and cooperate in their vitality. The nature model fails because gardens are unlike meadows and mountains in that they are—to some extent—contrived by humans and imbued with purpose by them. Moreover, Cooper argues, the distinctive meaning of gardens cannot be captured by combining (or "factorizing") the two models, that is, by regarding gardens as mixed phenomena of art-and-nature. This is because there is nothing in the two, taken separately, that can account for what is peculiar to our experience of garden aesthetics when they... (shrink)

The Young Women’s Group in Manchester is a ‘young women’s peer health project, run by and for young lesbian and bisexual women’, which runs an allotment as one of its activities. At a time when interest in allotments and gardening appears to be on the increase, the existence of yet another community allotment may seem unremarkable. Yet we suggest that this queer allotment poses challenges for conventional theorisations of allotments, as well as for understandings of public and private. In this (...) article we explore how the allotment project might be understood to be intensely engaged in ‘growing intimate publics’, or what we term ‘privatepublics’. These are paradoxical intimacies, privatepublic spaces which are not necessarily made possible in the usual private sphere of domestic homes. Here we focus on the work involved in materialising the allotment, which we understand as a queer privatepublic ‘natureculture’ (Haraway, 2008) which appears as an ‘everyday utopia’ (Cooper, 2014). (shrink)

ABSTRACTAbel Evans's poem Vertumnus celebrates Jacob Bobart the Younger, second keeper of the Oxford Physick Garden, as a model monarch to his botanical subjects. This paper takes Vertumnus as a point of departure from which to explore the early history of the Physick Garden, situating botanical collections and collecting spaces within utopian visions and projects as well as debates about order more widely in the turbulent seventeenth-century. Three perspectives on the Physick Garden as an ordered collection are explored: the architecture (...) of the quadripartite Garden, with particular attention to the iconography of the Danby Gate; the particular challenges involved in managing living collections, whose survival depends on the spatial order regulating the microclimates in which they grow; and the taxonomic ordering associated with the hortus siccus collections. A final section on the ideal ‘Botanick throne’ focuses on the metaphor of the state as a garden in the period, as human and botanical subjects resist being order and can rebel, but also respond to right rule and wise cultivation. However, the political metaphor is Evans’s; there is little to suggest that Bobart himself was driven by utopian, theological and political visions. (shrink)

My focus in this article is on a small group of German theorists, designers and patrons who thought extensively about the relationship between national identity and garden design: Christian Hirschfeld, Prince Franz von Anhalt-Dessau and his wife Luise, Johann Wolfgang von Goethe, and Prince Pückler. These garden enthusiasts knew one another through personal contact or their writings, and they responded to and developed their ideas in relation to the newly framed creative enterprise in German lands of “garden-landscape-art”. What they shared (...) was a conviction that garden forms affect feelings, with the role of the garden artist to determine paths that would alter and diversify the visitor’s experience of place. This essay explores how spontaneous emotions, elicited by movement through the garden, were linked with a growing sense of patriotism that contrasted with cosmopolitan judgments in the writings of Hirschfeld, Pückler, and Goethe. (shrink)

Nehemiah Grew is rightly lauded as one of the first and most sophisticated promoters of the discipline of plant anatomy—the observation and representation of the insides of plants. Overlooked so far, though, are his activities as a plant collector. In this paper, I reconstruct Grew's plant-collection practices from his first medical garden, through his incorporation of specimens from the Royal Society's repository, and to its expansion through his support of intercontinental plant-gathering missions. These activities gave Grew access both to fresh, (...) local plant samples, which he could observe again and again, as well as to foreign specimens that exhibited some of the more curious variations of nature. I argue that these different plant-collecting strategies reflected his overarching ambitions with his plant anatomy, which was to construct an idealised model of plant formation, generation, and growth. In order to do this, Grew pieced together his observations of individual specimens into one generalised model through the method of collation. While not offering concrete advice on how to grow plants more efficiently, I argue that Grew's idealised representation of the processes of plant life was offered as a framework for further botanical experimentation. (shrink)

Food security is a fundamental element of community health. Informal house-lot food growing, by providing convenient access to diverse varieties of affordable and nutritious produce, can provide an important support for community food security. In this exploratory assessment of the contribution home food gardening makes to community food security, in-depth interviews were conducted with gardeners in two contrasting neighborhoods in Toronto, Canada. A typology of food gardeners was developed, and this qualitative understanding of residential food production was then assessed (...) from a community food security perspective. It was found that growing food contributes to food security at all income levels by encouraging a more nutritious diet. The sustainability of household food sourcing and gardeners’ overall health and well-being also increased with food production. Secure access to suitable land to grow food and gardening skills were the most significant barriers found to residential food production. (shrink)

Timeless wisdom on growing old gracefully from one of ancient Rome's greatest philosophers Worried that old age will inevitably mean losing your libido, your health, and possibly your marbles too? Well, Cicero has some good news for you. In How to Grow Old, the great Roman orator and statesman eloquently describes how you can make the second half of life the best part of all—and why you might discover that reading and gardening are actually far more pleasurable than sex (...) ever was. Filled with timeless wisdom and practical guidance, Cicero's brief, charming classic—written in 44 BC and originally titled On Old Age—has delighted and inspired readers, from Saint Augustine to Thomas Jefferson, for more than two thousand years. Presented here in a lively new translation with an informative new introduction and the original Latin on facing pages, the book directly addresses the greatest fears of growing older and persuasively argues why these worries are greatly exaggerated—or altogether mistaken. Montaigne said Cicero's book "gives one an appetite for growing old." The American founding father John Adams read it repeatedly in his later years. And today its lessons are more relevant than ever in a world obsessed with the futile pursuit of youth. (shrink)

Kant's dismissive reference in the Critique of Judgment to landscape gardening as "nothing but the ornamentation of the ground" is puzzling since, as an art that seems like a product of nature, the garden should be a paradigm case of fine art. Additionally, it runs counter to a growing academic interest in garden theory in the late 1700s, as Michael Lee documents in this often overwrought but useful volume. After Kant, German academic philosophy was bedevilled by irresolvable oppositions between (...) reason and sensibility, and art and nature, that demanded mediation. This was paralleled by the efforts of German garden theorists to find a Mittelweg between the formal French-style and the irregular English garden. After a historical consideration of the rise of garden theory in the German academies in chapter 2, Lee explores the neglected philosophical importance of the garden, especially for K. H. Heydenreich and F. C. S. Schiller , and then considers Kant's critical philosophy in light of these analyses. (shrink)

Rooftop gardens, rooftop greenhouses and indoor farms have been established or planned by activists and private companies in Berlin. These projects promise to produce a range of goods that could have positive impacts on the urban setting but also carry a number of risks and uncertainties. In this early innovation phase, the relevant stakeholders’ perceptions and social acceptance of ZFarming represent important preconditions for success or failure of the further diffusion of this practice. We used the framework of acceptance (...) to investigate the stakeholders’ attitudes and to identify the key factors that might hinder or promote the introduction of ZFarming. The results are based on an analysis of 38 qualitative interviews conducted with key stakeholders in Berlin. As the results show, major perceived benefits of ZFarming include improved consumer awareness, education, and the creation of experimental spaces. Stakeholders further perceive opportunities for resource savings, new business models, repurposing of abandoned buildings and improved aesthetics. Major perceived risks are associated with growing techniques that are considered “unnatural”, health risks, conflicts with images of traditional agriculture, the rejection of animal production in urban areas, the risk of projects being too expensive and too complex or being implemented too early, i.e. before the mechanisms are fully understood. The analysis further reveals which contextual factors—political, legal, market-related, spatial or societal—might negatively or positively influence ZFarming acceptance. (shrink)

Portland, Oregon enjoys a growing reputation as a beacon of urban sustainability. Its modern planning history has seen effectve efforts to curb urban sprawl and introduce a comprehensive mass transit system. More recently, the city has also become a hub for a “makers” movement involving a plethora of local, small-scale craft production. Within this context, Portland is also home to a thriving urban agriculture scene, featuring community gardens, community-assisted agriculture, farmers’ markets, food co-ops, and various farm-based education and (...) outreach programs. While recent case studies of Portland insist that the social sustainability case made for urban agriculture (UA) remains open, this position is arguably unwarranted and lacks an adequate grasp of the critical urban geography perspective developed in the work of David Harvey and Neil Smith. Following the lead of what Chiara Tornaghi calls “the critical geography of urban agriculture,” Portland’s urban agriculture should, on the whole, be seen as an adjunct to rather than a resistance movement against advanced neo­liberal urban governance. (shrink)

The present contribution offers an overview of a new area of research in the field of foreign language acquisition, which was triggered by the introduction of Positive Psychology (PP) ( MacIntyre and Gregersen, 2012 ). For many years, a cognitive perspective had dominated research in applied linguistics. Around the turn of the millennium researchers became increasingly interested in the role of emotions in foreign language learning and teaching, beyond established concepts like foreign language anxiety and constructs like motivation and attitudes (...) toward the foreign language. As a result, a more nuanced understanding of the role of positive and negative learner and teacher emotions emerged, underpinned by solid empirical research using a wide range of epistemological and methodological approaches. PP interventions have been carried out in schools and universities to strengthen learners and teachers’ experiences of flow, hope, courage, well-being, optimism, creativity, happiness, grit, resilience, strengths, and laughter with the aim of enhancing learners’ linguistic progress. This paper distinguishes the early period in the field that started with MacIntyre and Gregersen (2012), like a snowdrop after winter, and that was followed by a number of early studies in relatively peripheral journals. We argue that 2016 is the starting point of the current period, characterized by gradual recognition in applied linguistics, growing popularity of PP, and an exponential increase in publications in more mainstream journals. This second period could be compared to a luxuriant English garden in full bloom. (shrink)

Animal lovers who feed meat to other animals are faced with a paradox: perhaps fewer animals would be harmed if they stopped feeding the ones they love. Animal diets do not raise problems merely for individuals. To address environmental crises, health threats, and harm to animals, we must change our food systems and practices. And in these systems, animals, too, are eaters. -/- Looking beyond what humans should eat and whether to count animals as food, Just Fodder answers ethical and (...) political questions arising from thinking about animals as eaters. Josh Milburn begins with practical dilemmas about feeding the animals closest to us, our pets or animal companions. The questions grow more complicated as he considers relationships with more distance - questions about whether and how to feed garden birds, farmland animals who would eat our crops, and wild animals. Milburn evaluates the nature and circumstances of our relationships with animals to generate a novel theory of animal rights. -/- Looking past arguments about what we can and cannot do to other beings, Just Fodder asks what we can, should, and must do for them, laying out a fuller range of our ethical obligations to other animals. (shrink)

There is a growing interest in fungi and mycelium as a material, the ever-branching connecting threads of the fungal world. The entanglements and how this rhizomatic network functions is not just a fascinating ecological system and material, but carries a profound usefulness as a metaphor for our potential new systems, ways of thinking and behaviors. Let's Become Fungal! takes its inspiration from the world of art and mycology and shares innovative practices from Latin America and the Caribbean that are (...) rooted in multispecies collaboration, symbiosis, alliances, non-monetary resource exchange, decentralization, bottom-up methods and mutual dependency all in line with the behavior of the mycelium. Every chapter is phrased as a question. They do not lead to answers, but to twelve teachings addressing for instance collaboration, decoloniality, non-linearity, toxicity, mobilization, biomimicry, death, and being non-binary. Simultaneously it ventures deeper into the world of fungi. The teachings from the fungus may inspire artists, collectives, organizations, educators, policy-makers, designers, scientists, anthropologists, change-makers, curators, urbanists, activists, gardeners, community-leaders, farmers, and many others, to become more fungal in their ways of working and being. (shrink)

Although there is growing recognition that trauma can negatively impact students in business and management, discussions have focused primarily upon medically recognized conditions such as post-traumatic stress disorder (PTSD) involving serious forms of violence or harm. Notwithstanding the criticality of this focus, there has been limited consideration of moral injury (MI), which occurs when deeply held moral values are violated, resulting in profound relational, spiritual, and psychological suffering. To address the latter, this article focuses on four areas. First, the (...) nature of teaching-related MI is clarified through its elaboration and distinction from PTSD. Second, the violations of moral values associated with MI are problematized within humanistic management education, in which the protection and promotion of dignity and its associated values are seen as foundational for wellbeing. Third, trauma-informed (TI) teaching and a prospective alternative, that of contemplative pedagogy (CP), are evaluated for their potential in the teaching-related prevention of MI and promotion of wellbeing. Despite its potential benefits, TI teaching is insufficient for these purposes. CP offers substantial advantages; however, is best implemented within the context of dignity-infused, TI teaching principles. Fourth, a holistic constellation comprising a dignity-infused, TI-CP for supporting humanistic assumptions in management education as well as a paradigmatic shift from economistic to humanistic management is described. Based on this constellation, and in contrast to an economistic metaphor of education as banking (Freire in Pedagogy of the oppressed. Penguin Books, London, 1970/1993), a humanistic metaphor of gardening for ecological (i.e., relational) vitalization, as well as co-creative humanistic innovation in the management classroom (and beyond) is offered. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Of Dialogues and SeedsKenneth SeeskinPlato’s Literary Garden: How to Read a Platonic Dialogue, by Kenneth M. Sayre; xxiii & 292 pp. Notre Dame: University of Notre Dame Press, 1995, $34.95.One of the best known paradoxes in the Platonic corpus occurs in the Seventh Letter (341), when Plato says that he has never written about the problems which concern him and never will. His reason: “This knowledge can never be (...) put into words like other subjects; but is generated by living with the matter itself and from many conversations (ek polle\s sunousias). Then like a flashing light when a fire is kindled, it is born in the soul and nourishes itself.” Why would the most gifted philosophical writer in history say that when it comes to goodness, beauty, or justice, language is an inadequate medium in which to convey truth?One answer is that Plato had an esoteric doctrine that he divulged to a few close associates but did not express in the dialogues. 1 The crux of the esotericist position is that Plato’s objection is not to language as such but to written language in particular. A more satisfying answer is offered by Kenneth M. Sayre in this recent book. According to Sayre, Plato wrote dialogues to allow the reader to have conversation (sunousia) with the author “in an indirect manner” and to facilitate the reader’s own discovery of truth. In other words, the dialogues are surrogates for the sort of discussions Plato shared with Socrates “in hopes of producing a similar effect in the mind of the reader.” [End Page 167]If Sayre is right, the problem discussed in the Seventh Letter is not limited to written communication but involves “logoi in whatever form we might identify them today” (p. 159). Sayre enlarges on this insight by claiming (p. 18) that for Plato “philosophic knowledge is not awareness of the truth of propositions” but “discernment of some aspect of reality.” 2 Nor is this view limited to the Seventh Letter; Sayre finds it expressed in dialogues ranging from the Meno to the Statesman. Although I have problems with some of the details of this interpretation, it is noteworthy that the Seventh Letter (342a) does claim its epistemology is not new and “has been expounded many times before.” 3The title of Sayre’s book is taken from a famous passage in the Phaedrus (276), where Socrates says that while written language gives the appearance of finality and inviolability, it is an image (eido\lon) of living speech, by which he means words that can defend themselves and are accompanied by knowledge. But as Sayre points out, the passage also carves out a role for written speech by claiming that it is legitimate for the dialectician to plant seeds in “a literary garden” to assist memory in later years and to help others who “wish to walk in the same path.” In fact, the passage tells us that the dialectician will select a soul of the right type and take pleasure in watching the seeds grow and mature. In keeping with Plato’s metaphor, Sayre organizes his chapters into functions associated with gardening: some dialogues prepare the ground, others sow the seeds, train the shoots, or allow us to reap the fruit. The book ends with an appendix on how to read a specific dialogue, the Theaetetus, in a way that emphasizes indirect or imagined conversation. As one might expect, Sayre takes the Theaetetus to imply that knowledge cannot be defined as true belief with a logos.Although not a highly technical work, Plato’s Literary Garden is a thoughtful and thought-provoking one designed for someone who wants students to see that Plato is not just another philosopher with another doctrine to peddle. So the first step in reading a Platonic dialogue is to recognize with Sayre that the dialogues are not “proto-essays” and that the decision to write dialogues is tied up with important features of Plato’s epistemology. But does that mean, as Sayre claims (p. 12), that “Plato’s dialogues were not conceived by their author as contexts in which to develop and to display positive arguments for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Proust and the Phenomenology of MemoryThomas M. Lennon"I still believe that anything that I do outside of literature and philosophy will be so much time wasted." Thus did the twenty-two year old Marcel Proust (1871–1922) write to his father, reluctantly agreeing to consider a career in the foreign service as an alternative to the legal profession otherwise being urged upon him. ("I should vastly prefer going to work for (...) a stockbroker," was his comment.)1 Happily for us all, Proust was obliged to do neither, and in fact was able to do both philosophy and literature. As André Maurois puts it, "[Proust's] great novel is philosophy incarnate."2 Certainly, In Search of Lost Time is saturated with philosophy, the appreciation of which cannot help but enhance our understanding of this great work. The thesis here will be that a loosely phenomenological account of the work's central concept of memory gives us the structure of the work as a whole.The biographical facts suggest such an approach. Proust received a license from the Sorbonne in 1895, and, more importantly, had previously been a student of the philosopher Alphonse Darlu at the Lycée Condorcet. Although he published very little, Darlu was a charismatic, inspirational figure for his students—not least of all for Proust himself, who described him as "the great philosopher whose inspired words, more certain to last than any writing would, gave birth in me as in so many others to thought itself."3 A touching artifact of Proust's time with Darlu is his report card, preserved in the Proust Museum at Illiers-Combray. Not incidentally, it shows a concentration on the classical authors who will be deployed here. We also have a wonderful little text that argues a kind of phenomenalism influenced perhaps by Hume, and certainly by Kant.4 The one author important to our account whose name does not figure as such in any of this material is Malebranche; but we know [End Page 52] that Proust was familiar with the great Oratorian since he quotes him.5 In fact, the only author appearing below who could not have been on Proust's shelf is Kundera, the most philosophical and Proustian of all recent novelists.We begin with a text; it is the most famous of all in French literature, the episode of the madeleine from the Search. The text has become so well known—through hearsay more than from having been read, no doubt—that it has invited "kitchification."6 Even so, it is an exquisite piece of writing, which, in any case, is essential to the thesis here.Many years had elapsed during which nothing of Combray... had any existence for me, when one day in winter as I came home, my mother, seeing that I was cold, offered me some tea, a thing that I did not ordinarily take.... She sent out for one of those plump little cakes called 'petites madeleines'.... I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid, and the crumbs with it, touched my palate than a shudder ran through my whole body.... And suddenly the memory [le souvenir] returns. The taste was that of the little crumb of 'madeleine' which on Sunday mornings at Combray... my Aunt Léonie used to give me, dipping it first in her own cup of real or lime-flower tea.... Immediately the old grey house upon the street rose up like the scenery of a theatre... in a moment all the flowers in our garden and in M. Swann's park, and the water-lilies on the Vivonne and the good folk of the village and their little dwellings and the parish church and the whole of Combray and of its surroundings, taking their proper shapes and growing solid, sprang into being, town and gardens alike, from my cup of tea.7There are other such episodes of the past springing into being, but not many, and they occur but infrequently, until the very end of this vast work, when they come upon the narrator rapidly and almost... (shrink)

"A fundamental feature of our individual, human agency is its organization over time. Think again about growing food in a garden, or taking a trip, or writing a book. A central idea is that our capacity for planning agency is at the heart of this cross-temporal organization of our individual, human agency. Appeal to this role of our capacity for planning agency both fits our commonsense self-understanding and, I conjecture, would be a part of an empirically informed psychological theory (...) that begins with-- but potentially adjusts--this commonsense self-understanding. The basic thought is that we are resource-limited agents who achieve cross-temporal organization in part by settling in advance on prior, partial plans. These somewhat stable partial plans help pose problems of means and preliminary steps, and in pursuit of needed coordination help filter potential options. They thereby provide a background framework for downstream thought and action"--. (shrink)

This piece, included in the drift special issue of continent., was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention. The editors recommend that to experience the drifiting thought (...) that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terror Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage * * * * Instead of beginning with radical doubt, we start from naiveté. —Graham Harman, The Quadruple Object Deep in the forest a call was sounding, and as often as he heard this call, mysteriously thrilling and luring, he felt compelled to turn his back upon the fire and the beaten earth around it, and to plunge into the forest, and on and on, he knew not where or why; nor did he wonder where or why, the call sounding imperiously, deep in the forest. —Jack London, The Call of the Wild The figure of the feral remains a perpetual enigma, but the parameters remain relatively consistent. A person, usually a child, enters civilization after having been raised by wolves or kept in some kind of cruel captivity. The outsider perspective on domestication ensuing in an edge of a culture's self-recognition of its clumsier attributes, what has been taken for granted becomes apparent, is brought to the foreground with the stranger and made questionable. Amusement follows naïve questions or observations such as Kaspar Hauser in the Herzog film, The Enigma of Kaspar Hauser, when Kaspar notes that while in his room he is engulfed by it, but when he looks at the tower he can turn away and it disappears. Ergo, the room is larger than the tower. How entertaining. The aberrant one destabilizes the comforting cultural normative. Places become seen as mere impressions out of space, a patterning, a rut that not everyone lives in like us. This is one figure of the feral. The naiveté that begs all the questions. As a figure for a certain philosophical disposition, the rapidity of one’s saccade scans the environment, intuits it’s space, not from an initial thaumazein or a Critchlean sense of disappointment, but from a child-like naiveté bent on survival. To serve the naïve is merely one form of critique, and it is not nearly used enough in lieu of the critique that provides answers. How dull. It is not necessary to be an outsider to entrench a critique with naiveté. After having forced to suffer in the most parched and rocky terror, itself for so long rooted upwards of fifty feet into the ground upon which it grows, even a grapevine can spontaneously produce a white grape on a red vine. The curious feral can arise from within, and like pinot grigio, it adds variety without admonishing its roots. There is also the feral dog. Not raised by wolves, but humans. Founded in place the figure of this feral denies this place. The trajectory of this feral roves from the cultivated to uncultivated, or in speaking of plants from controlled to volunteer, finding the necessary nutrients and survival patterns on its own. Finding other places, reaching out into space testing its fertility. And when introduced into a foreign environment, it withers or flourishes. We would like to attempt a thesis at this juncture and to accept neither feral figure in its entirety, but to argue for the intimate conjunction between a cultivated place and its resonance with the space it procures for its nest and kin. I'm not a biter, I'm a writer for myself and others. —Jay-Z, What More Can I Say? I am writing for myself and strangers. This is the only way that I can do it. Everybody is a real one to me, everybody is like some one else too to me. No one of them that I know can want to know it and so I write for myself and strangers. —Gertrude Stein, The Making of Americans There is no subjective disposition outlining an unambiguous individual of the para-academy. There is no para-academic. We all have day jobs. 'Para-academic' seeped through the cracks as an adjective in the call to frame publishing dedicated to the critical rigor expected by academic publishing, but to deny the limitations of guarded legitimation through capital means. Open-access holds hands with this parasitic descriptor. Para-academic publishing's refusal to adhere to the valuation of locked access of a site, the site “of a desperate initiation to the empty form of value,” 1 seeks to recognize not merely an inclusive interpretation of significance, but the significance of thinking practice. The practice inside the paywalls of academic 'education' is held in a deathgrip by its infatuation with value and information, both empty without the apprehension of human experience, the barbaric yawp. “I can't breathe in here.” It is not that a para-academic practice leads one to the childish wonder of Kaspar Hauser who wonders about the spatiality of his room. It is the academic legitimation that distorts that one can hold the understanding of both in a constellation of place and space. Led to believe there is only a place for things, we are led to disillusionment. It is also not that a para-academic practice relinquishes itself to the invasive growth outside of careful cultivation, an abandonment of pleasantries for the toothy growl of a predator. It is the academy's fear that thought does not require capital to signify value. Some of the most nutritious meals can be foraged. Defining a para-academic practice is not outlining a place of accreditation of the practice, it is the recognition that any place is subject to modulation by the space it inhabits as well as creates. The para-academic practice keeps an eye of the creation of spaces, follows those paths that eat themselves in the name of academia. This is not unlike Red Peter's report to the academy, only successful if we report in idle idiosyncratic banalities that we have once again become victorious in our acculturation and nullification within the confines of accredited mush and our trajectory of wild rigor is defeated in our desire for recognition as recognizable in this place. Weeds are integral to the functioning of a large ecosystem. The manicured garden is entirely reliant on its keeper. The pansy can also go wild once neglected, the daisy definitely does.... a universe comes into being when a space is severed or taken apart. The skin of a living organism cuts off an outside from an inside. So does the circumference of a circle in a plane. By tracing the way we represent such a severance, we can begin to reconstruct, with an accuracy and coverage that appear almost uncanny, the basic forms underlying linguistic, mathematical, physical, and biological science, and can begin to see how the familiar laws of our own experience follow from the original act of severance. The act is itself already remembered, even if unconsciously, as our first attempt to distinguish different things in a world where, in the first place, the boundaries can be drawn anywhere we please. At this stage the universe cannot be distinguished from how we act upon it, and the world may seem like shifting sand beneath our feet. —George Spencer-Brown, Laws of Form Two edges are created: an obedient, conformist, plagiarizing edge, and another edge, mobile, blank, which is never anything but the site of its effect: the place where the death of language is glimpsed. These two edges, the compromise they bring about, are necessary. —Roland Barthes, The Pleasure of the Text Between these two epigraphs, interminable questions of where and questions of happening, gesture, and interface. To stay buoyed between a site of visible happening and haptic perspicacity. Bounded by one or the other leads to a desiccation of potential knowledge. The tumbleweed tumbles until met with mud, a bare structure moving but not movement. A tumbleweed tumbleweeds, propagates only at a place. It becomes significant again, continues. Significance, the site where meaning is made known through kinesthetic apprehension. 2 The feral founds a gestural horizon; an outsider’s scrawl-becoming-law; Deleuze teaching Meno’s dog geometry. Place as marked, outlined, recognized, territorialized. The academies marked by their peculiar disciplines, outlined by their rigid boundaries, recognized as factories of value. This far from ensures complete purchase on the space of thought, but it has made an undeniably elaborate means of making work significant. The academy is a muddy spot, it is fertile, but its gates are high and its dogs are barking. The coordinates of concept and experience. Already claimed by a stabilizing suspension, the terms enter specificity of ‘this is this’. Another correlation: activity and the individual. The individual, a placeholder in the crosshairs of juridical identification. Activity, what expands and surrounds this location, but utterly indebted to the node of “one who”. What's happening in this oscillation of nature and nurture is practice. Practice, as Stengers tells us “is not the activity of an individual or the product of that activity. It is the ingredient without which neither that activity nor this product would exist as such.” 3 Moving outward from our own honing, we're curious about the ingredient creating the place for holding conceptual and experiential engagements in each hand. And we'd like to argue that this place is not a limiting specification, but a practice undulating daily, by the minute. And we call this practice the para-academic practice. I repeat: there was no attraction for me in imitating human beings; I imitated them because I needed a way out, and for no other reason. —Franz Kafka, A Report to an Academy In order to exist, man must rebel, but rebellion must respect the limit it discovers in itself—a limit where minds meet and, in meeting, begin to exist. — Albert Camus, The Rebel Anyone is a para-academic or practicer of such means. The academic can, and we argue should, be active para-academically, to escape the bounds, recognizing no site specific place as a place to rest on or the place to grab the Kafka's top and wonder at its disobedience not to continue. Yet, the para-academic practice must maintain the desire for rigor in scholarship. Indeed desiring past itself to claim a more naïve rigor, one that does not take its form for granted. Without a para-academic practice, the scholar spends half the time merely working on behalf of a hierarchy, to maintain it, and the other measly amounts of time are in the name of thinking, but only in name. Not to mention the amount of debt it takes to attend the halls of higher education. Not to mention the snoring tenures. Not to mention the barely scraping by adjuncts. Not to mention the materials that shake the very force of producible theory. Not to mention when swimming in texts becomes slogging through data. Academia is a barbaric food chain and it is our claim that there is, as always, an imperative for thought to move, with Heidegger, beyond the logics of calculation and planning, to a time of its own. The path, into the panic of the dark wood of this space can be followed by any; any who let the silence and the rigor enter the play. Where the little theater is larger when inhabited ; where the data of the tutor asymptotically refutes; and where, as much as one wouldn’t expect it here, ballet may turn out to be the most feral of forms… NOTES Jean Baudrillard, “Value's Last Tango” Simulacra and Simulation trans. Sheila Faria Glaser,. “What is significance? It is meaning, insofar as it is sensually produced.” Roland Barthes in The Pleasure of the Text. Isabelle Stengers, “The Science Wars” Cosmopolitics I trans. Robert Bononno, 47. (shrink)

When the world reveals a part of its beauty, what should our reaction be? How can we respond adequately? Is not our initial reaction one of a “discrepancy between our impressions and their habitual expression?” It is this question that Proust poses in one of the crucial passages early on in his masterpiece. Describing his walks along Méséglise's Way, and “the humble discoveries” he made there, the narrator details for us the overwhelming, decisive impression made on him by a shaft (...) of sunlight:After an hour of rain and wind, against which I had struggled cheerfully, as I came to the edge of the Montjouvain pond, beside a little hut with a tiled roof in which M. Vinteuil's gardener kept his tools, the sun had just reappeared, and its golden rays, washed clean by the shower, glittered anew in the sky, on the trees, on the wall of the hut and the still wet tiles of the roof, on the ridge of which a hen was strutting. The wind tugged at the wild grass growing from cracks in the wall and at the hen's downy feathers, which floated out horizontally to their full extent with the unresisting submissiveness of light and lifeless things. The tiled roof cast upon the pond, translucent again in the sunlight, a dappled pink reflection which I had never observed before. And, seeing upon the water, and on the surface of the wall, a pallid smile responding to the smiling sky, I cried out aloud in my enthusiasm, brandishing my furled umbrella: “Gosh, gosh, gosh, gosh!” But at the same time I felt that I was in duty bound not to content myself with these unilluminating words, but to endeavor to see more clearly into the sources of my rapture. (shrink)

Eden In Iraq is an environmental design and water remediation project in the marshes of southern Iraq using design and wastewater as bio-art, to create a restorative garden for education, cultural memory, and contemplation. Earmarked for a 20,000 m2 site at Al Manar in the marshes between the Tigris and Euphrates rivers, near a probable site of the historic Garden of Eden, Eden in Iraq is a project that brings, art, design, and technology together with culture and history. Drawing on (...) Islamic and Mesopotamian traditions originating in this historically and symbolically charged region, the Eden in Iraq Waste Water Garden is designed to be a syncretic container for ecological and cultural restoration and heritage after the time of war. This paper looks at this project from three inter-related activities, namely, treatment of wastewater suitable for growing a large scale garden, design of the garden starting from the Islamic garden design principles and thirdly, reviving the cultural heritage of the pre-Islamic, Mesopotamian art in contemporary forms.Graphic abstract. (shrink)

In this exclusive Interview Ada María Isasi-Díaz responds to questions about her work in theology, and the social and political challenges for Mujerista Theology in the first half of the twenty-first century. She discusses some of the biggest shifts in theology since she first engaged with it, and the challenges of growing ‘a Hispanic garden in a foreign land.’ A focus of the interview is Mujerista Theology and how it has developed over the last 20 years and is adapting (...) for the future. (shrink)

Urban agriculture (UA) is spreading within the Global North, largely for food production, ranging from household individual gardens to community gardens that boost neighborhood regeneration. Additionally, UA is also being integrated into buildings, such as urban rooftop farming (URF). Some URF experiences succeed in North America both as private and community initiatives. To date, little attention has been paid to how stakeholders perceive UA and URF in the Mediterranean or to the role of food production in these initiatives. (...) This study examines the promotion and inclusion of new forms of UA through the practice of URF and contributes to the nascent literature on the stakeholder and public perceptions of UA. It seeks to understand how those perceptions shape the development of new urban agriculture practices and projects. Barcelona (Spain) was used as a Mediterranean case study where UA and URF projects are growing in popularity. Through semi-structured interviews with 25 core stakeholders, we show that UA is largely perceived as a social activity rather than a food production initiative, because the planning of urban gardens in Barcelona was traditionally done to achieve leisure and other social goals. However, several stakeholders highlighted the potential to increase urban fertility through URF by occupying currently unused spaces. As a result, the positive valuation of URF depends on the conceptualization of UA as a social or food production activity. In turn, such conceptualization shapes barriers and opportunities for the development of URF. While most UA-related stakeholders (e.g., food co-ops, NGOs) preferred soil-based UA, newer stakeholders (e.g., architects) highlighted the economic, social and environmental opportunities of local and efficient food production through innovative URF. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

A philosopher and mother mines classic Daoist texts of Chinese philosophy for wisdom relevant to today's parents. The ancient Chinese philosopher Mencius compared children to tender sprouts, shaped by soil, sunlight, water, and, importantly, the efforts of patient farmers and gardeners. At times children require our protection, other times we need to take a step back and allow them to grow. Like sprouts, a child's character, tendencies, virtues, and vices are at once observable and ever-changing. A practical parenting manual, philosophical (...) reflection on the relationship between parent and child, and necessary response to modern stereotypes of Chinese parenting, Little Sprouts reconsiders cultural definitions of success and explores how we might support and nourish young people. Engaging deeply with foundational Daoist and Confucian thinkers, Georgetown philosopher Erin Cline offers accessible, provocative musings on key parenting issues-from family rituals to learning and vocation to challenges and disabilities-and helps us grow into better parents of joyful, fulfilled children. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rules and CommunityJeffrey Bedrick, MDThe paper, “The Dilemma of Compliance: Roles and Rules in Schizophrenia, Censorship, and Life,” by Riley Paterson raises a number of interesting issues. I am only able to address a few of these issues here, and I do so in the hope of broadening our consideration of some of the basic concerns.Paterson focuses his attention on the potentially repressive side of rules, even while acknowledging (...) the broader role of rules in human life. Thus, towards the end of his paper he writes “While I regard all experience as rule- and role-bound, the aforementioned groups”—those who “experience schizophrenia, persecution, or are otherwise marginalized and vulnerable”—“experience rules and roles with particular violence.” He admirably warns us to be sure that in our work with people we are not traumatizing or re-traumatizing them.But rules play a broader role in human life. Paterson discusses censorship and the role that rules can play in repressing the expression of ideas. But rules also allow the use of language and govern communication in general. Writers living under censorship resorted, Paterson notes, to a system of exoteric and esoteric writing and communication. But those esoteric texts, if they were not to remain purely private and unknowable to those who read the texts, had to follow certain rules and conventions to signal the reader that the exoteric text was not all there was, and that there was another, esoteric, meaning to be found within the text. Writing under conditions of censorship remained a communal, intersubjective, endeavor.With schizophrenia, the seeming central topic of the paper, the situation becomes even more complex. We shall see that Paterson’s analyses point us in two different directions.Paterson writes:In schizophrenia we see an exaggerated instance of the dilemma raised above: There is a gap that exists between the publicly available roles, and the person we feel ourselves to be. We are required to conform with the demands of these roles to preserve what we feel most natural in ourselves. People with schizophrenia often must conceal, at times, their experiences of hallucinations and delusions in order to preserve some ability for social interaction. In my clinical work, however, people with schizophrenia have often reported it has felt freeing to learn when and with whom they can share those thoughts and experiences. Freeing, not because they need to hide part of themselves but because doing so opens up possibilities of social interaction and community.Further, Paterson writes of the difficulties people with schizophrenia may have with ‘weintentionality.’ Referencing Salice and Henriksen (2021) [End Page 381] he concludes that “the self-disorders of schizophrenia preserve a capacity for joint intentionality (rule following) but severely inhibit an experience of group belonging and identity (weintentionality).” Indeed he notes, again following Salice and Henriksen (2021), “that some individuals experiencing more mild forms of schizophrenia spectrum disorders found great comfort and safety in rule following.” The problem for people with schizophrenia thus seems less with applying specific rules, which might in some cases be meant to regulate or repress behavior, than in establishing we-intentionality. Many phenomenologists have explored the concept of intersubjectivity and have noted, as have many psychoanalysts and therapists, that there is no pure, interior subject but that our very selfhood is formed in interaction and relation to others. (See, for one example, the work of Alfred Schutz (1967) for a phenomenological investigation of intersubjectivity and the social.) To borrow Paterson’s gardening metaphor, there are no sole, beautiful flowers. They must be cared for to grow, or be part of a natural ecosystem that allows them to flourish.Cognitive and negative symptoms are widely accepted as posing more of a burden to schizophrenia than the more flamboyant hallucinations and delusions. These seem to me to be due less to a difficulty conforming or complying to social rules that may be felt to be restrictive or repressive and more due to the difficulties with intersubjectivity and we-intentionality. The people I have worked with who were most limited by their schizophrenia in my judgment have been people with severe thought disorders who demonstrated severe loosening of associations and word salad. I say... (shrink)

The modernization of agriculture in Northern countries has led to a loss of crop diversity, as well as a loss of knowledge, know-how and rights of farmers regarding on-farm seed breeding. In France, the _Réseau Semences Paysannes_ (RSP) brings together collectives of actors (farmers, bakers, citizens, gardeners) mobilized in a quest to reclaim these aspects. Within the framework of the decentralized participatory breeding program conducted in collaboration with INRAE, farmers have co-constructed knowledge in terms of dynamic management of heterogeneous wheat (...) populations. Yet, as the RSP network grows, these actors face new types of challenges regarding collective action. To address them, we proposed to consider peasant seeds as « common unknowns » rather than « common goods » and we adapted and applied an innovative design approach drawing upon the KCP (Knowledge-Concept-Proposals) method. This approach consisted in implementing, from 2019 to 2021, five decentralized design workshops with local seed breeding collectives. The replication of design workshops in different contexts provided a framework for interaction among RSP members, allowed the sharing of both scientific and experiential knowledge. Noteworthily, it fostered the generation of many proposals for enhancing collective action, and led to the development of operational proposals with a view to implement them in the future. This methodology-oriented paper mainly describes the decentralized design approach implemented, its outputs and outcomes, as well as its interests and limits in the context of crop diversity management. It also analyses how the workshop outputs enriches previous works in the field; in particular how such a participatory design approach leads to produce original operational solutions to respond to challenges identified in the literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Good HopeCarla Liesching Click for larger view View full resolution[End Page 111]Carla Liesching is an interdisciplinary artist working across photography, writing, collage, sculpture, bookmaking, and design. Grounded in experiences growing up in apartheid South Africa, she considers the intersections of representation, knowledge, and power, with a focus on colonial histories and enduring constructions of race and geography. Carla's ongoing project, Good Hope, was published by MACK (...) in 2021, and was shortlisted for the 2022 Aperture Paris Photo First Book Award, and the Arles 2022 Prix du Livre in the Photo-Text Category. An excerpt from Good Hope is also featured in On Whiteness, by SPBH Editions. Carla was a 2021 winner of the Open Walls Arles competition presented by The British Journal of Photography and exhibited work during Rencontres d'Arles Festival in 2021 and 2022. She is a 2021 Light Work Grant recipient and the 2022 recipient of the Silver Eye Fellowship, culminating in a photo-sculptural installation at Silver Eye Center for Photography in Pittsburgh. Carla was recently named a Foam Talent, with exhibitions at Foam Museum in Amsterdam, the Deutsche Börse Foundation in Frankfurt, along with a solo exhibition of Good Hope through PhMuseum in Bologna. Carla lives between South Africa and Ithaca. In Ithaca, she works as Visiting Critic in Cornell University's Art Architecture and Planning Department; as Lecturer in the Art, Art History and Architecture Department at Ithaca College; as faculty at the International Center of Photography; and as coordinator of the School of Criticism and Theory at Cornell. As part of her socially engaged practice, Carla is also a youth educator focused on image-making, visual literacy, and self-publishing as vehicles for expression and empowerment. [End Page 112] Click for larger view View full resolution'As soon as you are in a proper stage of defence you shall search for the best place for gardens, the best and fattest ground in which everything planted or sown will thrive.' Click for larger view View full resolution—Instructions from the Dutch East India Company inscribed on a yellowing sheet of parchment, 1651.1[End Page 113] Click for larger view View full resolution Click for larger view View full resolution[End Page 114]iYes, there are facts and figures to account for, timelines to trace, but have I told you of today's newspapers? Headlines like: 'Land Justice', 'Expropriation without Compensation', 'Revolution or Reform?' Have I told you of the monuments removed in the 'riots'? Or the groundsmen in green overalls scrubbing graffiti, repairing broken fountains, collecting debris? Black men White bosses still call 'boys'? Have I told you of the doves cooing gently, perched atop the sleeping bodies of migrant families on the lawns? Have I told you of the White children from the Cape of Good Hope Seminary dressed in their afternoon 'civilian clothes'? Or of the more racially integrated group from Mseki High in their grey-and-turquoise uniforms surrounding me on the main steps leading to the garden? The cacophony of lunch-time chatter, chip packets crinkling, the flap-flap of wings as seagulls scavenge for tasty morsels? Have I told you of the signs pointing to the Scientific Pleasure Garden? Or of the gift store filled with locally sourced flower oils, handmade candles, Delft-blue china tea-sets and postcards depicting the early colony? And what of Cecil John Rhodes cast in greening bronze, flanked by a Madagascar Cycad and a Queen Palm, announcing: Your Hinterland is There? Have I told you of the small rock in the corner of the vegetable garden with a label hidden beneath weeds? The arrival of the Dutch to establish a refreshment station, providing fresh produce for the ships plying the spice route, marked the end of a free and independent existence for the native Gorinhaiqua Khoikhoi. And what of the large label at the stone-walled entrance? A story of how a garden in 1654 brought together continents and affected the course of history. A story of how plants in the form of pepper, nutmeg, cloves and cinnamon changed the world economy. Have I told you the garden is the cause of it all? [End... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Museums in Transition:Thoughts from an EmpiricistSean UlmerIn March 2005 Daniel Siedell, curator of the Sheldon Memorial Art Gallery and Sculpture Garden at the University of Nebraska in Lincoln, approached me with an invitation to participate in a symposium for the Journal of Aesthetic Education that he was guest editing. He said that the symposium would be dedicated to curatorial and educational issues and suggested that each of the contributors (...) could use David Carrier's forthcoming book as a starting point for their essays. At that time, I did not know of Carrier's thoughts but had a number of thoughts myself on issues related to curatorial and educational strategies within the museum setting. My experience in a variety of positions in three—now four—institutions had provided me with a number of perspectives about different facets of the museum and its curatorial and educational missions.In Carrier's book, Museum Skepticism, released in May 2006, the author posits a number of thought-provoking observations regarding the birth, evolution, and decline of the museum. Tracing this development from the French Revolution and the opening of the Louvre, through the Isabel Stewart Gardner Museum, the Boston Museum of Fine Arts, Albert Barnes's collection and foundation/museum, and finally the J. Paul Getty Museum, Carrier looks at specific examples to support claims he makes in his intriguing opening and concluding chapters. While there are too many worthwhile observations to explore in great detail here, I will address some of the issues that piqued my interest, coming at the question from a different point of view, that of a working museum professional.Let me begin by stating that I am no theorist. Instead, I am an unapologetic pragmatist.1 My entire career has been shaped by actual work within a museum, seeing the institution—or "organism" as I usually refer to it—from a number of different vantage points.2 These varied experiences have given me the opportunity to see the museum—at least a Kunsthalle, two university museums, and a public museum—from several different vantage points. [End Page 4]In his introductory chapter, Carrier asks his primary question: "What is it like to lead the life of a work of art?"3 This is a very interesting question, and one with which many of us rarely consider in our day-to-day work within the museum's walls. In order to answer the question fully, Carrier suggests that "we need to understand museums."4 Indeed. In actuality, museums (and there are many different types) are just one component that must be considered. For a full consideration of the life of the work of art, one must start with the artist. What were his or her motivations? What was he or she trying to accomplish with the work? How was it first shown? In a gallery? In a museum show? How did the artist intend the work to be shown? What was the role of the patron or commissioner, if there was one? We know that the Catholic Church was an important originator of a number of great works of art and many were destined for church interiors, and some still are in situ. One cannot deny, however, that many of the world's great works of art ("great" simply deemed so by consensus) have found their way into museums. Museums are much more complex beasts than Carrier—or anyone for that matter—can cover within the confines of a single, publishable book. So many factors must be considered, especially when considering today's museums, as they continue to evolve and grow: the role of the collector, the patron, the board, the director, the curator, the education staff, the guards, and the public, to name just a few individuals who require consideration when analyzing museums. Such an interesting mixture of different individuals, each with a unique perspective (and agenda), coming together in one place makes for this complexity. And while the author uses this question of the life of a work of art as a starting point, he finds in the progress of the text a number of other stimulating and thoughtful observations. There is much more contained within... (shrink)

Amid the many food safety scandals that have erupted in recent years, Chinese food activists and consumers are turning to the creation of alternative food networks to ensure better control over their food. These Chinese AFNs have not been documented in the growing literature on food studies. Based on in-depth interviews and case studies, this paper documents and develops a typology of AFNs in China, including community supported agriculture, farmers’ markets, buying clubs, and recreational garden plot rentals. We unpacked (...) the four standard dimensions of alternativeness of AFNs into eight elements and used these to examine the alternativeness of AFNs in China. We argue first that the landscape of alternativeness varies among different networks but the healthfulness of food is the most prominent element. Second, there is an inconsistency in values between AFN initiators and customers, which contributes to the uneven alternativeness of Chinese AFNs. Third, Chinese AFNs are strongly consumer driven, a factor that constrains their alternativeness at present. The inclusion of “real” peasants in the construction of AFNs in China is minimal. This paper adds to the existing literature on AFNs with an analysis of recent initiatives in China that have not been well documented before. By unpacking the dimensions of alternativeness into specific elements, this paper also provides an analytical framework for examining the alternativeness of AFNs especially nascent ones that have not developed a full spectrum of alternativeness. (shrink)

We hope—even as we doubt—that the environmental crisis can be controlled. Public awareness of our species’ self-destructiveness as material beings in a material world is growing—but so is the destructiveness. The practical interventions needed for saving and restoring the earth will require a collective shift of such magnitude as to take on a spiritual and religious intensity.This transformation has in part already begun. Traditions of ecological theology and ecologically aware religious practice have been preparing the way for decades. Yet (...) these traditions still remain marginal to society, academy, and church. With a fresh, transdisciplinary approach, Ecospirit probes the possibility of a green shift radical enough to permeate the ancient roots of our sensibility and the social sources of our practice. From new language for imagining the earth as a living ground to current constructions of nature in theology, science, and philosophy; from environmentalism’s questioning of postmodern thought to a garden of green doctrines, rituals, and liturgies for contemporary religion, these original essays explore and expand our sense of how to proceed in the face of an ecological crisis that demands new thinking and acting. In the midst of planetary crisis, they activateimagination, humor, ritual, and hope. (shrink)

Urban food sovereignty is a growing field of research and a site of struggle for food justice advocates, but it has gained less attention in low-income contexts, particularly in the Global South. Yet, with high rates of urbanization, and growing rates of urban poverty in many countries, urban food sovereignty, and the dietary, food systems and health aspirations of the urban poor should be taken seriously. In this paper, I explore the utility of a community-based tool for assessing (...) food sovereignty, and a case study of urban women at the Centre for Nutrition and Education for Women and Children (C-New-C) in Cap-Haitian, Haiti. Ultimately, the findings suggest that food sovereignty tools, assessments and metrics, when used in urban areas, can illuminate much that a food security assessment might overlook including, the importance of urban dietary aspirations, the value of traditional foods, the significance of land and gardening access to health and mental health, the impacts of gender on food access, and the possibilities for healthy urban food systems and communities. (shrink)

The Totonac homegarden is a traditionally designed agroecosystem mixing different elements, such as cultivated and wild plants, and livestock. Our objective was to understand the role and importance of homegardens as a strategy for subsistence and natural resources management. Anthropological fieldwork was carried out in Coxquihui, Veracruz, Mexico, a Totonac community. Conventional sampling using a questionnaire yielded a sample of 40 individuals, each representing a family group. Personal interviews, life stories, observations, and field transects enriched survey information. Fieldwork permitted identification (...) of four types of Totonac homegardens: backyards, cropping fields, acahuales or fallow fields, and fences or field edges. Each of these gardens yields an array of products and services important for several cultural roles and natural resource management aims. Totonacs see land as the dominant and most critical resource. A great deal of terrain is steeply sloped and soils are poor. Homegardens play a key role in a production system that minimizes these site limitations, striking a balance between resource maintenance and subsistence needs. Their functions are ecological, to foster a multistrata vegetation cover, and a continuous supply of organic matter to the soil; economic, serving as living storehouses where diverse products (food, timber, firewood, forage, animals, ceremonial supplies, medicinal products), are kept through the annual cycle; and social, performing various social roles such as growing medicinal, ritual, and edible plants, thus supporting beliefs and culture continuity. Studies like this contribute to a better understanding of Totonac culture and native ecology, and give ideas for a better land management. (shrink)

Some months ago, when giving a paper about Sir Francis Bacon's philosophy, I mentioned that, according to him, Nature was a woman; true knowledge treats her like his legitimate wife, while false knowledge deals with her as if she were a barren prostitute. In the same paper, I also mentioned that according again to Bacon, there are three kinds of intellectual attitudes, or three kinds of philosophers, namely the pure rationalists, who are like spiders, the empiricists who are like ants, (...) for they gather materials but do not work on them, and a third category—good philosophers who are like bees, for they gather and work on the material gathered. Now, during the discussion a gentleman strongly objected to Bacon's use of ants as a metaphor. He explained that there are many different species of ants, and some of them do not merely gather, some have gardens for instance, where they grow mushrooms. The gentleman concluded that philosophers do not know what they are talking about when they use metaphors. This is true enough, but I felt sorry indeed that nobody observed that it is not true that a woman is either a wife or a prostitute; nobody asked whether ‘nature as her’ implied that the scientist is, as a matter of course, male; nobody said that the simple fact of using ‘woman’ as a metaphor is questionable in itself. So, when speaking of feminism in contemporary French philosophy, one has to keep in mind that, on the Parisian stage, the honour, dignity, diversity and reality of insects are better defended than the honour, dignity, diversity and reality of women. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Everything is Breath":Critical Plant Studies' Metaphysics of MixtureElisabeth Weber (bio)In her book Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants, Robin W. Kimmerer contrasts two creation stories that are thoroughly incompatible. One starts with an all-powerful male creator calling the world and its vegetation and animals into existence through words, and forming the first human beings from clay; the other starts with Skywoman tumbling through the (...) air with seeds in her fist from the Tree of Life growing in Skyworld. One ends with the condemnation of woman to give birth in "very severe" pains, with the cursing of the ground ordered to "produce thorns and thistles" as punishment for man who will eat his food only after "painful toil," and the expulsion from the garden; the other ends in gratitude for the collective caring of the animals, with the creation of "a garden for the well-being of all." One includes an original fall from grace whose burden will be passed down from generation to generation; the other acknowledges suffering without a trace of the burden of unearned guilt. One predicts death as a return to the dust from whence mankind was created; the other imagines death as becoming plant and fruit, as becoming gift, a rejoining the spirits of all ancestors, human and others, who surround the living in everything that is. The threat of one is the inexorability of a trajectory "from dust to dust" and the latter's association, with Plato, of something so diffuse that it doesn't merit a concept or idea; the promise of the other is an abiding relationship with all that is, the reciprocity of giving and gratitude, and the gladly assumed responsibility for the "inspirited" land.Kimmerer comments:Same species, same earth, different stories. Like Creation stories everywhere, cosmologies are a source of identity and orientation to the world. They tell us who we are. We are inevitably shaped by them no matter how distant they may be from our consciousness. One story leads to the generous embrace of the living world, the other to banishment. One woman is our ancestral gardener, a cocreator of the good green world that would be the home of her descendants. The other was an exile, just passing through an alien world on a rough road [...].1 [End Page 117]Cosmologies express collective imaginairies that have evolved over hundreds, even thousands of years. The Iroquois story recounted and rendered accessible by Kimmerer is one of countless creation stories that constitute an "important genre in many preliterate traditions" (Zolbrod 5). Kimmerer suggests that even though the Judeo-Christian creation story may have receded into the background of Western collective consciousness, it plays a role in the planet's devastation. What strikes the reader in the story of Skywoman is the centrality of reciprocity, of relation, and, as the woman's name indicates, the significance of the sky. While this might mean, on planet Earth, the atmosphere–the Earth's sky is blue because of the surrounding atmosphere–the implications of the sky's preponderance reach beyond the planetary into the cosmological. The "sky is not what is above. The sky is everywhere: it is the space and the reality of mixture and movement, the definite horizon starting from which everything has to draw itself" (Coccia 218-219) in order to breathe and live.In order to continue to breathe, breathe in the long-term, the long-term, that is, as Barbara Kingsolver put it in one of her poems, "from a tree's / way of thinking" (7), non-human kin's "way of thinking" will need to play a role in humans' self-understanding. Kyle Whyte underlines that it is not enough to respond with urgency to specific ecological crises (fires, flooding, etc.) alone, but, rather, "urgency must be aimed at addressing ecological and relational tipping points together":U.S. settler colonialism, for example, in a short period of time, inflicted displacement, drastic ecological changes, and lost or disrupted relationships with hundreds of species that indigenous peoples depended on through kinship ties for generations. These changes are more extreme than what many nonindigenous persons fear most about moving beyond... (shrink)

The amount of criticism heaped upon persuadent has obscured consideration of the meaning of picta; for it is this word which carries the weight of the line. Tracing the sequence of thought in the passage will show where the emphasis lies. There is throughout a comparison, either expressed , or implied , between the artless manifestations of nature and their cultivated, trained, or man-made counterparts; ‘wild flowers are more beautiful to behold than cultivated ones; similarly ivy and arbutus which grow (...) as they will are more attractive than those in gardens; natural rills more charming than artificial fountains, … birds which sing from the heart delight us more than those which have been taught.’. (shrink)

Disgrace , by J.M. Coetzee, is a story of a rape; more, it is a tale in which the victim of the rape, Lucy Lurie, is silent. She demands neither sympathy nor justice for what happens toher, presenting herself as neither a victim nor someone seeking revenge. Instead she stands as a witness, and does so by adopting an attitude reminiscent of the thinking of Simone Weil—rejecting the possibility of rights, and not looking for explanations. Rape, Coetzee thus suggests, is (...) an act without meaning, a trauma whose reality cannot be exorcised through narration. Fittingly, therefore, the novel ends with a tableau of Lucy growing flowers in her garden; living, like Candide, without rationalisation or consolatory myth. (shrink)

In her groundbreaking work, Elinor Ostrom suggested that communities are able to self-organize and develop rules which allow them to effectively manage common-pool resources while avoiding the “tragedy of the commons”, as proposed by Hardin. Based on empirical case studies of how forests, irrigation, grazing land and fisheries are organized all over the world, Ostrom suggested several principles that can serve as guidelines for managing common-pool resources. In the 21st century new initiatives have been based on sharing. There are various (...) examples such as car and bike sharing in cities, internet platforms such as Wikipedia, community gardens and many others. There is a reason to believe that these efforts will continue to grow and become more popular as people realise the economic, social and ecological benefits. The aim of this paper is to analyse to what extent Ostrom’s findings are relevant to these new, often urbanised or digitalised forms of sharing. Can the famous design principles for which she won the Nobel prize be applied or do we need to search for a different set of principles that are more suitable for these new emerging forms of ‘the commons’? Our findings suggest that although Ostrom’s framework needs to be adapted before being applied to the reality of urban and digitalised environments, some of her findings remain relevant. (shrink)

Our daily experience, dominated by the corporate clock that so many of us contort ourselves to fit inside, is destroying us. It wasn't built for people, it was built for profit. This is a book that tears open the seams of reality as we know it-the way we experience time itself-and rearranges it, reimagining a world not centered around work, the office clock, or the profit motive. Explaining how we got to the point where time became money, Odell offers us (...) new models to live by--inspired by pre-industrial cultures, ecological, and geological time--that make a more humane, more hopeful way of living seem possible. In this dazzling, subversive, and deeply hopeful reframing of time, Jenny Odell takes us on a journey through other temporal habitats. As planet-bound animals, we live inside shortening and lengthening days, alongside gardens growing, birds migrating, and cliffs eroding. The stretchy quality of waiting and desire, the way the present may suddenly feel marbled with childhood memory, the slow but sure procession of a pregnancy, or the time it takes to heal from injuries--physical or emotional. Odell urges us to become stewards of these different rhythms of life, to imagine a life, identity, and source of meaning outside of the world of work and profit, and to understand that the trajectory of our lives--or the life of the planet--is not a foregone conclusion. In that sense, "saving" time-recovering its fundamentally irreducible and inventive nature-could also mean that time saves us. (shrink)