Uncommon worlds: toward an ecological aesthetics of childhood in the Anthropocene

In addressing the need for a more robust engagement with aesthetics in posthumanist studies of childhood and nature, this chapter makes some tentative steps towards an ecological aesthetics of childhood that is responsive to Whitehead’s speculative philosophy. In doing so, the chapter takes an alternative theoretical approach from much of the ‘common worlds’ scholarship that has emerged in recent years, while making the case for a new aesthetics of childhood that is responsive to the accelerating social, technological, and environmental changes of the Anthropocene epoch. Our approach foregrounds the singularity of children’s aesthetic experiences as relational-qualitative ‘intensities’ that alter the fabric of nature as an extensive continuum held in common. We therefore argue that every moment in the life of a child is an uncommon and unrepeatable occasion through which the common world of nature is felt, perceived, and experienced differently. This eco-aesthetic approach is developed further through the analysis of photographs taken by children as part of the Climate Change and Me project, which has mapped children and young people’s affective responses to climate change over a period of three years in New South Wales, Australia. Rather than working with images as representations or analogic signifiers for children’s experience, we analyse how each photograph co-implicates children’s bodies and environments through affective vectors of feeling, or ‘prehensions’. This leads us to reframe aesthetic notions of image, sensibility, perception, and causality in relational terms, while also acknowledging the individuation of childhood experiences as ‘creaturely becomings’ that produce new potentials for environmental thought and behaviour

Genes as Tags: The Tax Implications of Widely Available Genetic Information

This paper examines how progress in genetics\u27 specifically, the proliferation of knowledge about the human genome\u27 may influence the feasibility and desirability of a tax that is based on individual human endowments or ability. The paper explores various forms that such a genetic endowment tax-and-transfer regime might take and identifies some of the benefits and costs of such a regime. The authors take no position on whether a genetic endowment tax would be desirable or not. However, one contribution of the paper is to observe that current law in the U.S., which restricts the use of genetic information by insurers and employers, is equivalent to a form of genetic endowment tax. The paper also notes that, in the absence of a government-mandated transfer policy with respect to genetic endowments, private insurance markets may arise to fill the gap, allowing individuals to purchase insurance against the possibility of a bad genetic draw

Unworking Milton: Steps to a Georgics of the Mind

Traditionally read as a poem about laboring subjects who gain power through abstract and abstracting forms of bodily discipline, John Milton’s Paradise Lost (1667, 1674) more compellingly foregrounds the erotics of the Garden as a space where humans and nonhumans intra-act materially and sexually. Following Christopher Hill, who long ago pointed to not one but two revolutions in the history of seventeenth-century English radicalism—the first, ‘the one which succeeded[,] . . . the protestant ethic’; and the second, ‘the revolution which never happened,’ which sought ‘communal property, a far wider democracy[,] and rejected the protestant ethic’—I show how Milton’s Paradise Lost gives substance to ‘the revolution which never happened’ by imagining a commons, indeed a communism, in which human beings are not at the center of things, but rather constitute one part of the greater ecology of mind within Milton’s poem. In the space created by this ecological reimagining, plants assume a new agency. I call this reimagining ‘ecology to come.

Beyond trauma? memories of Joi/y and memory play in Blade Runner 2049

Cultural memory studies finds itself at an impasse: whereas ‘cultural memory’ is conceptualized as mediated, dynamic, imaginative and shaped by the present, the dominant paradigm of ‘trauma’ illuminates the hold the past has on us, casting the shadow of a melancholic subjectivity that threatens to obscure our agency as (political) subjects. This article asks what lies in store for memory studies beyond the focus on (classic) trauma (theory). Using the movie Blade Runner 2049 (US 2017; dir: Denis Villeneuve) as an illustrative example, it explores how creative and joyful forms of meaning-making through play and acts of memory inform each other in what the psychoanalyst DW Winnicott described as ‘cultural experience’

Walking with Media: Towards a mixed reality pedagogy in university learning environments

Recently the fields of architecture, media studies, and education have begun to converge through the proliferation of mixed reality technologies and interfaces. This convergence is widely described as offering new opportunities for immersive, seamless, decentralised and environmentally distributed learning experiences. This chapter contributes to a growing body of research exploring the transformation of learning environments through distributed media networks, digital databases, and innovative pedagogical interventions. It develops a theoretical framework for researching the interconnections between the built environment, mixed reality technologies, and place-based learning experiences and pedagogies. The second part of the chapter focuses on the development of the CubeWalk network, which involved a series of site-specific architectural installations, digital interfaces, and pedagogical interventions on a university campus in NSW, Australia. Two case studies are presented which describe the co-design and evaluation of mixed reality tutorial walks across the university campus. Drawing together insights rendered through the case studies, the chapter offers a series of theoretical propositions for a ‘mixed reality pedagogy’ that is distributed across 21st century learning environments and media networks

Children of an Earth to Come: Speculative fiction, geophilosophy and climate change education research

Over the last three years, the Climate Change and Me project has mapped children and young people’s affective, creative and ontological relationships with climate change through an emergent and child-framed research methodology. The project has involved working with 135 children and young people from across Northern NSW, Australia as co-researchers responding to the rapidly changing material conditions of the Anthropocene epoch. In this paper, we position speculative fiction as a mode of creative research which enabled the young researchers to inhabit possible climate change futures. This node of the Climate Change and Me research was initiated by co-author Jasmyne, who at the time was a year seven student at a local high school. Through an ongoing series of visual and textual posts on the project website, Jasmyne created an alternate world in which children develop mutant forces and bodily augmentations that enable them to resist social and environmental injustices. Drawing on these visual and textual entries in dialogue with Deleuze and Guattari’s geophilosophy, we consider ways that speculative fiction might offer new conceptual tools for a viral strain of climate change education that proliferates through aesthetic modes of expression

Inhuman forms of life: On art as a problem for post-qualitative research

Researchers navigating the ontological turn in educational research have increasingly looked to art as an alternative to conventional modes of qualitative inquiry. However, the rapprochement between art and post-qualitative research remains problematic. While some see this turn coinciding with established genealogies in arts-based research, others suggest that existing models of arts-based inquiry are largely incompatible with the radical onto-epistemological orientations associated with post-qualitative research. This paper argues that the integration of art into the social sciences is far from settled, while also offering a series of speculative propositions for an inhuman aesthetics that is responsive to the ontological turn. This inhuman theory of art is elaborated through Deleuze and Guattari’s philosophy, and extended through an analysis of collaborative artworks produced by undergraduate visual art students. This leads to a consideration of how post-qualitative approaches might enable mutual activations between art, philosophy, and social research