Dear Ecolinguistics Listserv,
In Gibber, the Aeolian Marsh, and The Confluence we find work that speaks to an embodied poetics built around a practice of experimentation and performance. Placing it within a Humboltian sense of unity, Gibber, the work of rawlings, resonates with Wylie’s (2005) conception of landscape understood as that “with which” we see, such that rawlings’ “ecopoethic praxis” is an enactment of practice with the landscape. This is a practice attentive to the shaping of bodies and processes, which are of and within the landscape. Such a mode of practice is evident elsewhere in Berner and Stanley’s Aeolian Marsh a “work utterly dependent on what the weather did” (Berner and Stanley). The engagement with the cosmos here is one of attentiveness and immanence, one where control and agency is distributed between and across bodies, be they human, nonhuman, or something else. This resonates with the “humanimal materialist geography,” of Russo’s piece The Confluence, which is also a practice deeply aware of ethics and human/non-human positionality.
Each of these works, then, is highly creative-critical-political in their stance. From rawlings' interrogation and unsettling of the anthropocentricities of language and the hegemonic power relationships those languages support, to Russo’s placement of The Confluence as counter-mapping-radical-poetics, to Berner and Stanley’s nuanced understanding of Arrowhead Marsh which, situates their piece as poetics-hybrid-political ecology, these three poets illustrate the possibilities that such practices point toward in eco-politicizing creative geographies.
Within their critical and political stance, it is important to note that these pieces are also playful. We suspect this playfulness, which is based on openness and a desire to work in a field that migrates across bodies and disciplines, is key to reimagining, mapping, and counter-mapping the human place in the cosmos. What is more, playfulness migrates across many other works within this collection which, challenge the way we perceive ‘reality’ and the cosmos. Such works resonate with what Deleuze and Guattari term the ‘play of the world,’ which can be seen in ‘a semiotic fragment [that] rubs shoulders with a chemical interaction, an electron crashes into a language, a black hole captures a genetic message’ (2004[1987]:77). Play here, then, becomes entangled with the heterogenity and openness of experience such that it can be understood as a means of acknowledging the manner in which ‘[d]isparate elements ... come together in a multitude of different ways’ (Clark 2003)."
Thought there might be interest in Curating the Cosmos, an online art exhibition curated for the annual conference of the Association of American Geographers:
My poetic work Gibber is included here, with an ecolinguistics position explained within my artistic statement. The curators also offer a nice contextualizing essay.
Warmth,
a rawlings
"Poetic Bodies with Landscapes
In Gibber, the Aeolian Marsh, and The Confluence we find work that speaks to an embodied poetics built around a practice of experimentation and performance. Placing it within a Humboltian sense of unity, Gibber, the work of rawlings, resonates with Wylie’s (2005) conception of landscape understood as that “with which” we see, such that rawlings’ “ecopoethic praxis” is an enactment of practice with the landscape. This is a practice attentive to the shaping of bodies and processes, which are of and within the landscape. Such a mode of practice is evident elsewhere in Berner and Stanley’s Aeolian Marsh a “work utterly dependent on what the weather did” (Berner and Stanley). The engagement with the cosmos here is one of attentiveness and immanence, one where control and agency is distributed between and across bodies, be they human, nonhuman, or something else. This resonates with the “humanimal materialist geography,” of Russo’s piece The Confluence, which is also a practice deeply aware of ethics and human/non-human positionality.
Each of these works, then, is highly creative-critical-political in their stance. From rawlings' interrogation and unsettling of the anthropocentricities of language and the hegemonic power relationships those languages support, to Russo’s placement of The Confluence as counter-mapping-radical-poetics, to Berner and Stanley’s nuanced understanding of Arrowhead Marsh which, situates their piece as poetics-hybrid-political ecology, these three poets illustrate the possibilities that such practices point toward in eco-politicizing creative geographies.
Within their critical and political stance, it is important to note that these pieces are also playful. We suspect this playfulness, which is based on openness and a desire to work in a field that migrates across bodies and disciplines, is key to reimagining, mapping, and counter-mapping the human place in the cosmos. What is more, playfulness migrates across many other works within this collection which, challenge the way we perceive ‘reality’ and the cosmos. Such works resonate with what Deleuze and Guattari term the ‘play of the world,’ which can be seen in ‘a semiotic fragment [that] rubs shoulders with a chemical interaction, an electron crashes into a language, a black hole captures a genetic message’ (2004[1987]:77). Play here, then, becomes entangled with the heterogenity and openness of experience such that it can be understood as a means of acknowledging the manner in which ‘[d]isparate elements ... come together in a multitude of different ways’ (Clark 2003)."
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