In this thesis, the emergence of "Muslim environmentalism" as a response to the limitations of secular humanism in addressing contemporary environmental challenges is explored. The author argues...Show moreIn this thesis, the emergence of "Muslim environmentalism" as a response to the limitations of secular humanism in addressing contemporary environmental challenges is explored. The author argues that Islamic epistemology provides an valuable expansion on existing epistemic values in order to prevent further anthropocentrism. While Islamic ethical principles, particularly the concept of trusteeship (amana), provide a solid foundation for environmental stewardship. The research suggests a revision of the epistemic values and thus environmental ethics overal, inspired by Abdurrahman Taha's trusteeship paradigm. This thus entails critiquing existing frameworks, delving into Taha's epistemology, examining the practical implications, and specific applications to environmental issues.Show less
The effects of climate change are becoming visible throughout the world and with it the call for more environmental policies inspired by ecocentrism, a philosophy that attributes intrinsic moral...Show moreThe effects of climate change are becoming visible throughout the world and with it the call for more environmental policies inspired by ecocentrism, a philosophy that attributes intrinsic moral value to nature. One such policy is the Rights of Nature (RoN), which has already been implemented in several countries like Ecuador, Bolivia, and New Zealand. The popularity of the RoN movement is growing but critical evaluations of the policy and implementation are scarce. This thesis aims to close that gap by evaluating the RoN from an ecofeminist perspective. I argue that the RoN’s use of gendered language perpetuates stereotypes of both women and nature and that the way the RoN is implemented now is just a continuation of the liberal Western system instead of the radical change it aims to be. I then apply the three ecofeminist philosophical principles of Phillips (2020) to the RoN and argue that though they help make the RoN more inclusive, they cannot induce radical change as long as they are implemented into a system that is built on the exploitation of both nature and women. Ecofeminism urges us to dismantle this system and base our policies on principles like empathy, care, and love.Show less
Research master thesis | Arts and Culture (research) (MA)
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This written and visual research project sets out to consider how the notion of opacity marks photographs of environmental despoliation. It argues that opacity can be a critically potent framework...Show moreThis written and visual research project sets out to consider how the notion of opacity marks photographs of environmental despoliation. It argues that opacity can be a critically potent framework in photographic practices that engage with the ecological crisis by means of its construction of more affective modes of communicating a phenomenon that is itself often marked by incomprehensibility. In doing so, it conducts a comparative visual analysis of two photographic series: Anthropocene by Edward Burtynsky and Oil and Moss by Igor Tereshkov. It concludes that Burtynsky’s series constructs an awesome visuality that pursues a revelatory approach but, in actuality, ends up reasserting a set of beliefs that are already widely known, consequently not inciting new, critical modes of contemplating the ecological crisis. Tereshkov’s work, on the other hand, works to recombine the aesthetic with the critical; focusing on the interactions between the images’ visuality and their tactility, this thesis argues that Oil and Moss’ critical potency is established by means of its destabilising, disruptive aesthetics of the opaque. The ecological crisis is also a crisis of imagination: as humans, we struggle to grasp and make sense of the scale and severity of the devastation that appears to be creeping closer and closer. As such, we are in need of new, innovative modes of imagining our physical environments and how we relate to them. Photography, in its simultaneous ability to remember the past, to contemplate the future, and to imagine alternative iterations of the present, is one itinerary through which that may be achieved.Show less
Humanity’s excessive consumptive behaviour is the primary cause of ecological destruction. Yet, neither lowering consumption nor production levels seem to be addressed in environmental policies and...Show moreHumanity’s excessive consumptive behaviour is the primary cause of ecological destruction. Yet, neither lowering consumption nor production levels seem to be addressed in environmental policies and thus remain notably high. Therefore, this dissertation investigates the psychological roots of humanity’s ecologically destructive consumptive behaviour. My hypothesis is that ecological alienation and self-alienation are the main, compounding factors of ecologically destructive consumptive behaviour. Ecological alienation leads to devaluation of nature. As environmental values are paramount to sustainability-driven behaviour, devaluation of nature decreases the prevalence of such behaviour. Additionally, I argue that humanity’s excessive consumption is driven by consumptive addiction whereby individuals substitute their authentic physical, mental and emotional needs with consumption; and that this consumptive addiction is rooted in self-alienation. I suggest that ecological alienation and self-alienation are themselves rooted in the modern industrial worldview and its related value systems, and that these factors influence and reinforce each other. Ultimately, what is necessary to counter ecologically destructive addictive consumptive behaviour might be exactly what runs the risk of being indefinitely destroyed because of it: humanity’s reconnection with nature.Show less
As we are currently witnessing what is often called the sixth mass extinction, photography is facing a new challenge. It can either respond with acting upon the “rescuist” impulse which often...Show moreAs we are currently witnessing what is often called the sixth mass extinction, photography is facing a new challenge. It can either respond with acting upon the “rescuist” impulse which often arises under such dark prospects (by keeping endangered species alive in the form of an image), or follow a more self-reflective path. In my written as well as visual research, I use lichens — the symbiotical growth of algae, fungus and bacteria — as a metaphor through which to explore the precarity of our environmental conditions. The resulting photograph which is normally said to “immortalise" turns out to be a trap, as lichens become less likely to die as they grow older. This thesis aims to investigate how photographing extraordinarily durable organisms in times of ecological instability challenges the notion of photography as an embalming practice. It delves into the aesthetic implications of the current condition — joined under the term Anthropocene, by introducing the concepts of Timothy Morton’s “hyperobjects” and Tim Ingold’s “leaky things.” Subsequently, it scales up to the level of photography as a medium declared dead multiple times, often following major technological shifts. Here, extinction as an affective threat takes the place of such a disturbance, and, understood as a generative process, serves as the basis for speculating about the future of photography.Show less
Artistic practice today is uniquely situated to pose critical, alternative responses to contemporary ecological problems. A compelling example from Mexico City is the 2015 performance piece Plan...Show moreArtistic practice today is uniquely situated to pose critical, alternative responses to contemporary ecological problems. A compelling example from Mexico City is the 2015 performance piece Plan Acalote by contemporary art collective Plan Acalli, which reenacted the journey of a traditional acalli boat across Mexico City, crossing highways and avenues that were once canals. This thesis examines the ecological potential of this artwork by studying the performance and its context through a framework of materialist posthumanism. I argue that Plan Acalote crucially enabled human participants to develop environmental skills and awareness and involved ritual, pilgrimage-like encounters. I propose that, in this way, the acalli boat’s journey can thus be read as a material transformation or “becoming” of paved urban roads into an acalote, or Nahua waterway: a collaborative, situated and performative strategy towards research, environmental awareness and art. Therefore, Plan Acalote ultimately demonstrated the potential of a shift in cosmovision through art as a viable approach to furthering ecological goals.Show less
On the 21st June 2014, a Shintō shrine was inaugurated in the independent Republic of San Marino, as the second shrine outside the soil of Japan. The San Marino Jinja サンマリノ 神社 has been officially...Show moreOn the 21st June 2014, a Shintō shrine was inaugurated in the independent Republic of San Marino, as the second shrine outside the soil of Japan. The San Marino Jinja サンマリノ 神社 has been officially supported and recognised by Jinja Honchō 神社本庁, the administrative organisation that oversees about 80,000 Shintō shrines in Japan. However, what is mainly told about Shintō, still nowadays, is that it is the most antique and purely indigenous religion of Japan, a polytheism of immanent deities, defined as kami, strongly connected with the Japanese soil and centred around the sun goddess Amaterasu Omikami, and the imperial family descending directly from her. But, if Shintō is actually such a not inclusive religion, is it possible to define this foreign shrine legitimately and consistently Shintō, on a theoretical and practical perspective? In other words, if the claims of Shintō are the ones of a Japanese religion for Japanese people only, why the San Marino Jinja has been officially inaugurated and how does a Shintō shrine operate in a different country and cultural context? Actually, as it will be possible to discover through this research, most of the pillars on which Shintō is based are not historically consistent or accurate. It will be also possible to demonstrate how historically inaccurate it is to consider Shintō an indigenous religion in the first place. Therefore to deconstruct these claims, which could obstruct a legit globalisation of it, in this research Shintō will be discussed first from a theoretical point of view. Firstly by deconstructing the general held idea of Shinto itself, following the academical debate of the last fifty years. Secondly, by presenting the new rhetoric promoted by Jinja Honcho about Shinto as the “World's new religion of ecology”, in order to increase its national and international popularity. With this theoretical background it will be then possible to analyse the phenomenon on a practical perspective. In order to do so a comparative analysis will be featured: the Ise Jingu, the oldest model reference of jinja, will be compared to the San Marino site. The result will demonstrate whether the European shrine presents the same operating patterns as the native one, and therefore whether is a legit instance of a successful Shinto globalisation.Show less
