Swamps And The New Imagination

Contributors consider the vital urgency of human cohabitation with other forms of life, beginning a dialogue with possible futures. It is not easy to define a swamp, even in biology. The term is frequently used to characterize marshes, bogs, mires, wetlands, meadows, and other grey zones between land and water. In that sense, “swamp” is a metonym for a variety of transitional ecosystems and functions. This book invokes that concept as a tool to address the vital urgency of human cohabitation with other forms of life, placing the swamp at the crossroad of disciplines and practices. It is more than a biological ecosystem; it is a milieu of manifold sympoietic relationships, a locus of imagination, fostering the dialogue for possible futures. It is also a very particular modality—“an interface of Gaia”—offering a “face,” a certain physiognomy to faceless networks of relations, inviting us to engage in regimes of entanglement. The contributors to this volume expand on swampy notions, probing global and speculative art and architecture, intercalating philosophy and queer theory, and filtering these notions through the lens of posthumanist ecology, informed by the histories and theories of cybernetics, sociology, and the commons. Contributors Lorena Bello and Brent D. Ryan, Nikola Bojić, Chiara Bottici, Jonathan Jae-an Crisman and Newton Harrison, Glorianna Davenport and Gershon Dublon, T.J. Demos, Vittoria Di Palma, Jennifer Gabrys, Tinna Grétarsdóttir and Sigurjón Baldur Hafsteinsson, Stefan Helmreich, Stefanie Hessler, Yuk Hui, Giedrė Jankevičiūtė, Caroline A. Jones, Lars Bang Larsen, Bruno Latour, Gintautas Mažeikis, Astrida Neimanis, Kate Orff and Mariel Villeré, Andrew Pickering, Kristina Lee Podesva, Elizabeth A. Povinelli, María Puig de la Bellacasa and Dimitris Papadopoulos, Cristina Ricupero, Eglė Rindzevičiūtė, Kristupas Sabolius, Saskia Sassen, Caterina Scaramelli, Marco Scotini, Pelin Tan, Nomeda & Gediminas Urbonas, Angela Vettese

In these nine evocative essays, Barbara Hurd explores the seductive allure of bogs, swamps, and wetlands. Hurd's forays into the land of carnivorous plants, swamp gas, and bog men provide fertile ground for rich thoughts about mythology, literature, Eastern spirituality, and human longing. In her observations of these muddy environments, she finds ample metaphor for human creativity, imagination, and fear.

From bestselling author and winner of the Blue Peter Best Story Book Award, Uki and the Swamp Spirit is the fifth title set in the world of Podkin One-Ear. Uki had the sensation of a sickly green light, spreading out through the networks of water. Of tendrils connecting all the creatures of the marsh in a web . . . Linking itself so it could poison it all and destroy it. Uki and his friends have two more spirits to find and capture. After defeating Valkus, they make for Clarice, who is spreading disease through the swamps. Can Uki and his friends outwit him - all whilst they themselves are being chased by the Endwatch and Jori's clan of assassins? 'Storytelling perfection.' Sophie Anderson 'One of my sons very favourite authors.' Romesh Ranganathan 'Superb.' Max Porter 'It's jolly good fun ... expect sequels to breed like... well, rabbits.' SFX on The Legend of Podkin One-Ear

This book challenges conventional notions of the Anthropocene and champions the Hydrocene: the Age of Water. It presents the Hydrocene as a disruptive, conceptual epoch and curatorial theory, emphasising water's pivotal role in the climate crisis and contemporary art. The Hydrocene is a wet ontological shift in eco-aesthetics which redefines our approach to water, transcending anthropocentric, neo-colonial and environmentally destructive ways of relating to water. As the most fundamental of elements, water has become increasingly politicised, threatened and challenged by the climate crisis. In response, The Hydrocene articulates and embodies the distinctive ways contemporary artists relate and engage with water, offering valuable lessons towards climate action. Through five compelling case studies across swamp, river, ocean, fog and ice, this book binds feminist environmental humanities theories with the practices of eco-visionary artists. Focusing on Nordic and Oceanic water-based artworks, it demonstrates how art can disrupt established human–water dynamics. By engaging hydrofeminist, care-based and planetary thinking, The Hydrocene learns from the knowledge and agency of water itself within the tide of art going into the blue. The Hydrocene urgently highlights the transformative power of eco-visionary artists in reshaping human–water relations. At the confluence of contemporary art, curatorial theory, climate concerns and environmental humanities, this book is essential reading for researchers, curators, artists, students and those seeking to reconsider their connection with water and advocate for climate justice amid the ongoing natural-cultural water crisis.

A study of water at the intersection of landscape and infrastructure in Paris, Berlin, Lagos, Mumbai, Los Angeles, and London. Water lies at the intersection of landscape and infrastructure, crossing between visible and invisible domains of urban space, in the tanks and buckets of the global South and the vast subterranean technological networks of the global North. In this book, Matthew Gandy considers the cultural and material significance of water through the experiences of six cities: Paris, Berlin, Lagos, Mumbai, Los Angeles, and London. Tracing the evolving relationships among modernity, nature, and the urban imagination, from different vantage points and through different periods, Gandy uses water as a lens through which to observe both the ambiguities and the limits of nature as conventionally understood. Gandy begins with the Parisian sewers of the nineteenth century, captured in the photographs of Nadar, and the reconstruction of subterranean Paris. He moves on to Weimar-era Berlin and its protection of public access to lakes for swimming, the culmination of efforts to reconnect the city with nature. He considers the threat of malaria in Lagos, where changing geopolitical circumstances led to large-scale swamp drainage in the 1940s. He shows how the dysfunctional water infrastructure of Mumbai offers a vivid expression of persistent social inequality in a postcolonial city. He explores the incongruous concrete landscapes of the Los Angeles River. Finally, Gandy uses the fictional scenario of a partially submerged London as the starting point for an investigation of the actual hydrological threats facing that city.

The contributors to Reactivating Elements examine chemicals as they mix with soil, air, water, and fire to shape Earth's troubled ecologies today. They invoke the elements with all their ambivalences as chemical categories, material substances, social forms, forces and energies, cosmological entities, and epistemic objects. Engaging with the nonlinear historical significance of elemental thought across fields—chemistry, the biosciences, engineering, physics, science and technology studies, the environmental humanities, ecocriticism, and cultural studies—the contributors examine the relationship between chemistry and ecology, probe the logics that render wind as energy, excavate affective histories of ubiquitous substances such as plastics and radioactive elements, and chart the damage wrought by petrochemical industrialization. Throughout, the volume illuminates how elements become entangled with power and control, coloniality, racism, and extractive productivism while exploring alternative paths to environmental destruction. In so doing, it rethinks the relationship between the elements and the elemental, human and more-than-human worlds, today’s damaged ecosystems and other ecologies to come. Contributors. Patrick Bresnihan, Tim Choy, Joseph Dumit, Cori Hayden, Stefan Helmreich, Joseph Masco, Michelle Murphy, Natasha Myers, Dimitris Papadopoulos, María Puig de la Bellacasa, Astrid Schrader, Isabelle Stengers

The artists Nomeda & Gediminas Urbonas are representing Lithuania at the 52nd International Art Exhibition La Biennale di Venezia. This book documents the artistic process of the Villa Lituania project, from its inception in 2006 through to the realization of the first performance event and pavilion exhibition in June 2007. It collects the archival material associated with the challenge of building a pigeon loft in Rome, and a visual and textual artists' diary. Nomeda & Gediminas Urbonas have established an international reputation for their socially inter-active and inter-disciplinary practice that engages with the fabric of everyday life, public social space, and even political space, focusing on issues relevant to Lithuania. Generally, their practice is comprised of collective activities - workshops, lectures, debates, television programs, Internet chat-rooms, and public protest actions - that form around a specific social space and a topical issue. The art outcome is often the documentary recording, in a range of media, of the activity: or the collective production of an art work. They also collaborate with experts in different fields of cultural production such as architecture, design, and fashion to produce objects or products that cross disciplinary boundaries. Urbonas's work has evolved hand-in-hand with new media as they experiment with forms of 'access' that impacts upon public/audience reception of exhibition practices. Villa Lituania in Rome is a building associated with the Lithuanian nation: it was the Embassy of the first independent Republic of Lithuania (1918-1940) to Italy. The Embassy operated in the Villa from 1933-1940 but became a possession of the USSR after the Soviet occupation of Lithuania. The keys to the property, which had been in safe keeping, were handed by Italian authorities to Soviet officials in step with the alliance of powers signaled by the Molotov-Ribbentrop Pact (1939). Since the disintegration of the Soviet Union in 1990-91 and the formation of the Republic of Lithuania the Villa has remained the property of Russia; operating as the Russian Consulate in Rome. It is considered the last occupied territory of Lithuania, and successive Lithuanian governments have lobbied internationally for its restitution. Now two of the Lithuania's leading artists are taking up its cause. Their approach - qua the anarchitects Acconci, Matta-Clark, and Smithson - belongs to the symbolical field and will unfold in Venice, Vilnius, and Rome in the coming months. More than a catalogue, the publication contains specially commissioned essays by four leading international writers, and a curatorial essay by the project commissioner. David Carrier writes a brief history of avian symbolism in art, Boris Kagarlitsky traces the collapse of the USSR and its impact on contemporary life in Russia, Viktor Misiano delivers a personal view of historical ties between the Italian Communist Party and its Soviet counterpart, and Julian Stallabrass deconstructs the deployment of Marxist critique within the field of contemporary art. Villa Lituania is a truly cross-disciplinary reader; of Nomeda & Gediminas Urbonas' project; and the post-soviet condition from a contemporary Lithuanian perspective. Recent international projects by Nomeda & Gediminas Urbonas include: the Pro-test Lab Archive currently on show in "Monuments of our Discontent" a special-project for the Second Moscow Biennale; the archive was first displayed in "Fever Variations" at the Gwangju Biennale 2006. The archive developed from the Pro-test Lab project commissioned for the multi-venue touring exhibition Populism, 2005. Their Ruta Remake project (2003-05) evolved in exhibitions staged in Stuttgart, Oslo, Vienna, Berlin, and Vilnius. And Urbonas's multi-platform work Transaction was exhibited in Documenta XI and Manifesta 4 in 2002. The project Villa Lituania, principally funded by the Ministry of Culture of the Republic of Lithuania, is being organized by the Contemporary Art Centre and lead by CAC curator Simon Rees Contributors David Carrier, Boris Kagarlitsky, Viktor Misiano, Julian Stallabrass

Throughout history, swamps have been idealized and demonized, purged and protected. Today, they are simultaneously considered metaphorical places of evil, pestilence, and death, and treasured as diverse biological ecosystems teeming with life. Covering not only swamps and bogs but also marshes and wetlands, Swamp ventures into the cultural and ecological histories of these mysterious, mythologized, and misunderstood landscapes. Anthony Wilson takes readers into swamps across the globe, from the freshwater marshes of Botswana’s tremendous Okavango delta, to the notable swamps between the Tigris and Euphrates rivers, to the peat bogs in Russia, the British Isles, and Scandinavia, which have been used as energy sources for centuries. It explores ideas and representations of wetlands across centuries, cultures, and continents, considering legend and folklore, mythology, literature, film, and natural and cultural history. As it plumbs the murky depths of swamps from the distant past to an uncertain future, Swamps provides an engaging, accessible, informative, and lavishly illustrated journey into these fascinating landscapes.