Essay Draft 1 & Tutorial's with Anya 27.10.22 & 1.12.22

Two books I have recently bought that are helping me re-evaluate what I perceive as nature and how it can help strike a balance with my concerns of a tech heavy identity stripping transhumanistic future.

Notes from my first essay tutorial 27.11.22 with Anya (pre any essay being written):

(Notes from second tutorial after 'essay draft 1')

Entwine Artwork into the essay,

Create debate giving a definite position rather than just 'creating debate',

Bring my own work into some of the arguments,

Pick some artworks and bring backwards into the text,

Where I stand and how I have got there,

Wood Wide Web,

Don't forget ART!!!!,

Object Orientated Ontology (OOO),

Other ways of situating ourselves in Nature,

Tim Morton, Philosopher Prophet of the Anthropocene,

Ideas of balance,

Materials, where and how,

Think about the development of my practice,

I don't need to give a complete background to subjects.

Links from Anya:

https://www.frieze.com/article/radical-nature-art-and-architecture-changing-planet-1969%E2%80%932009

https://documenta-fifteen.de/en/mediathek/tuan-mami-nha-san-collective-vietnamese-immigrating-garden/

On Walden Pond

Essay Draft 1:

MACAP709 ESSAY ALDOUS GEORGE JAN 2023

Unplugging from the Anthropocene and Transcending through “Biopsycophysis”

The human condition is such that pain and effort are not just symptoms which can be removed without changing life itself; they are rather the modes in which life itself, together with the necessity to which it is bound, makes itself felt. For mortals, the “easy life of the gods” would be a lifeless life. – Hannah Arendt

Introduction

Humans are becoming more ferocious than a tornado ripping through their homes, mimicking this force of nature with their industrialised capitalistic greed and warmongering antics, reshaping the planet on a geological scale, way faster than the erosion of valleys or reshaping of continents. The geological speed with which humans are causing planetary havoc is now set with an increasing supersonic cruise control and our world is heading towards a collective concussion. For the planet this will mean nothing more than a mere scar, a new geological epoch, the Anthropocene, with evidence of nuclear fallout, micro plastics, concrete particles, fertiliser and even the scattering of chicken bones (Wong S. 2018), whereas for humans, this blow to the head could be far more dangerous and even fatal. The Anthropocene, a period during which human activities have had an environmental impact on the Earth regarded as constituting a distinct geological age. (Anthropocene 2022). The concept of the term Anthropocene is generally attributed to the Nobel prize-winning atmospheric chemist Paul Crutzen and the biologist Eugene Stoermer, who started popularising their idea in 2000. From the outset, many took Crutzen and Stoermer’s concept seriously, even if they disagreed with it, which echoes the disturbing thoughts of many, that not only are we in a period of manmade disruption through our own endeavours that contribute to global warming and climate change but that it is also a self-awareness whip to our sides and that there seems to be a complete lack of caring about the fact that we know what we are doing to ourselves. Since the late 20th century, scientists have viewed geological time as a drama punctuated by great cataclysms, not merely a gradual accretion of incremental changes, and it made sense to see humanity itself as the latest cataclysm. (Blasdel, A. 2017)

Timothy Morton, philosopher and theorist asserts that we are all cyborgs to some degree and that we need to let go of our fantasies of controlling the planet, which for me also includes the potential damaging effect of controlling and altering ourselves, and that we should not consider ourselves above other beings. Instead, Morten boldly claims that the Anthropocene is forcing a revolution in human thought and that science can only take us so far. This means changing our relationship with the other entities in the universe – whether animal, vegetable or mineral – from one of exploitation through science to one of solidarity in ignorance. If we fail to do this, we will continue to wreak havoc on the planet, threatening the ways of life we hold dear, and even our very existence. In contrast to utopian fantasies that we will be saved by the rise of artificial intelligence or some other new technology, the Anthropocene teaches us that we can’t transcend our limitations or our reliance on other beings. We can only live with them. Here Morton, delves into the philosophical views of Object Orientated Ontology (OOO). Ontology as we know is the philosophical study of existence and OOO puts things at the centre of this study. Its exponents contend that nothing has special status and that everything exists equally. In particular, OOO rejects the claims that human experience rests at the centre of philosophy, and that things can be understood by how they appear to us. In place of science alone, OOO uses speculation to characterise how objects exist and interact. Morton’s definition of nature is more in tune with a universal collective consciousness where he believes that everything is connected which could be argued should include the very things he is warning us against. However the fundamental issues and concept is that there is a need for radical change towards a more considered connection with nature, that encourages people away from industrialised capitalistic greed, or the societal breakdown through cultural and hierarchy pyramid systems, or the materialistic need to have the best plasma holographic interface (screens) and undress from this consumeristic egotistical outfit, and take a leap of faith, back, into the sometimes ephemeral beauty found in nature and re-dress in the light of the shadows, embellish in thick foundational life lesson layers and to drift their minds eye into a more biophilic gaze, from climbing trees and experiencing 'canopy-eyes' to creating fire, re-igniting the ever fading light that was once a bright flame representing the relationship we should always keep alive, to remind ourselves of the reciprocity we need to have with the planet Earth and the ongoing dependence and kinship needed with our natural world.

This essay will be about the role as an artist, (and when I say artist, I will broaden the definition to be anyone, because , lets face it, we are all artists to some degree) to bring about awareness to conclusive considerations about where technological ontology is taking the human species and trying to fathom an alternative way of thinking, a deeper concept of considering alternative ways of situating ourselves within nature, and whether we need to redefine what we think of as nature, whilst encouraging a decortication of an inevitable cyborg story and offering a consoling stimulation of stepping back into the woods, climbing trees and playing with fire and reconnecting with nature.

Artists and their ability to play a role in our inevitable transcendence into the unknown.

Artists play a huge role in not only creating debate but also influencing change. Olafur Eliasson, uses natural elements that evoke an awareness of the sublime world around us and how we interact with it; his projects often point toward global environmental crises and consider art’s power to offer solutions to issues like climate change and renewable energy. In addition to his installations in galleries and museums, Eliasson’s work has increasingly engaged broader audiences through permanent architectural projects and interventions in public spaces. Since 2012, Eliasson has also run Little Sun, a certified B Corporation that produces small, solar-powered LED lamps with the aim to provide clean, affordable, and renewable light to communities without access to electricity. (Olafur Eliasson no date)

It is now time to seriously listen to theorists, scientists, environmental artists and climate activists and make a decision for change, a resolution to reconnect with nature because of technological concerns, and make a conscious decision to rewild ourselves, in particular, for me, a journey into the woods, the trees and all the biodiversity they offer.

George Monbiot, in his book Feral advocates a timely philosophical debate for the need to let a wild rumpus start, a passion for a wilder world less circumscribed by fear and greed that will release us from a claustrophobic monoculture (Monbiot, G. 2013). Monbiot encourages a new way to look at and consider our landscape, the lives we no longer lead but should and the species that no longer exist but could and epitomises the potential re-birth of exhilarating transcendence that will allow us to re-emerge in a time that will continue to teach us all we need to know to survive without war, greed, enhancement and identity loss, to allow an interconnected relationship with our landscapes, all species and an enriching symbiotic connection to nature.

I would like to put forward my view that the Anthropocene along with a transhumanistic outlook could be the downfall of humanity or at least strip us of our ‘being human’ as we know it at present and before posthumanism really kicks in before humanity self-destructs. I would like to define and encourage what I feel as an inevitable fall back to old ways and even possibly the animism of fundamental life skills.

In short, the possible Icarus effect of pursuing transhumanism, where failure is brought about by the very elements that will lead to an initial success and why nature will be our saviour and how artists play a major role in helping the world acknowledge and bring about change.

As well as environmental artists and artists that draw our attention to such worrying concerns of where the future may take us and the connection that we are rapidly losing with nature, there are artists that encourage technology and transhumanism and some that go as far as to enhance themselves to create a new medium or sense to allow their bodies to combine technology in the production of art. For me, on my journey into the realms of what really encourages my artistic inspirations I have found that those that seek to encourage the symbiosis with technology are actually having the opposite desired effect and are acting as a warning beacon as I delve into the dark misty bio hacker stories, animal research lab horror’s (Peta2, 2017) and genetic mishaps that possibly lurk around the corner.

Other artists, like myself are interested in Transhumanism and how our bodies will be adapted in the future, but do not necessarily agree with it. One such artist is Agi Haines who is an internationally exhibiting practitioner, researcher and lecturer whose work is based around an investigation into the future with biomedical and healthcare technologies and aims to probe questions about what we feel is acceptable in the world of altering the human body and creating adaptions for possible changes in our environment, for example Haines sculptural work includes modified babies with flaps on their heads to possibly keep them cooler as the earth’s temperature rises.

Haines asks questions such as what would stop us searching for a higher level of function than we have now? Especially if it may have the potential to benefit the younger, more vulnerable and more malleable generations? Alongside these questions she also voices concerns over how transhumanism combined with the military pursuit of a super soldier is a part of transhumanism she strongly rebels against. Haine’s inspiration comes from the weird and wonderful things that exist inside us. Questioning how our morbid curiosity for the viscera of life might affect the future of design, not only for the environment but also for us as sentient sacks of flesh within it? (AgiHaines.com 2022) I cannot help but feel that although on the surface there seems to be good intention, that this pursuit of advanced technologies within bioscience will ultimately channel into darker avenues that will incur a backlash of irreversible damage to what it means to be human.

All art is ecological, writes Morton, all artists are wonderment operators states Jenny Huberman, art can be new, although what is left to create? Type anything into google, it’s been done, or it’s being talked about, or it’s a concept in a new/old film, have we exhausted the algorithms of desire? I hope not but take Duchamps urinal, the fact that people keep remaking it is preposterous. Duchamps produced a prime object, and others replicate it ad nauseum (Serra, R. and Foster, H. 2018). This leads me onto repetition, a fundamental ingredient to the existence of life, nature and how humans became to be. We are parasites on a planet, replicating the virus that probably induced an attack on some innocent amoeba minding its own business in the corner of some dark cave, the same cave that was later to be adorned with the markings of its creations, the amoeba with legs and a brain, although not academically, because look at where that greed induced brain has got us now.

Dr Ruth Allen has reminded us that re-enchantment has perhaps objectively become more difficult in recent times, with an earth suffering more significantly than ever before. Catastrophic species loss and a significant collapse of biodiversity and the destruction of habitats are unfolding on an unprecedented scale with signs of collapse all around us. Adults are now bowing their heads in shame and guilt as to where the once enchanting story they told their children is now realistically taking them. We have to find a way to rewild our connection to nature, our minds, bodies, longings and purposes, despite the mess and to repair the connection. We need to become both wild and grounded to deal with what lies ahead: nature is not gone (Allen, R. 2021).

Transhumanism against Biophillia and is there any middle ground?

The Posthuman future envisioned by transhumanists according to Jenny Huberman is one in which technology plays a paramount role in the constitution and organisation of both the species and society and although not all transhumanists share exactly the same beliefs and ideologies, technologically enhanced superbeings are at the heart of all their transcending realities. They also propose that posthuman sociality will include sharing the universe with a range of other-than-human persons which touches upon Morton’s interconnected universe as previously mentioned although I imagine they are actually worlds apart. With the development of neural implants, transhumanists argue that the posthuman beings will enter into new forms of symbiotic relationships with machines and that rather than being displaced by them, they will merge together in productive harmony. I cannot help but think of an ethically questionable Brave New World future (Huxley A. 1955) where babies or even fully grown adults are born into a world stripped of character and identity which is the subject behind my recent moving image work: New World Birth (part 1) (Fig.2):

Let’s presume that technology has not advanced to the point where virtual realities become our reality (Chalmers D. J. 2022) and that nature is actually what we think we perceive it as and that we can have a physical and mental connection with it. Biophillia is an innate human instinct to connect with nature (Wilson, O.E. 1984) and other living beings and I think it would be safe to assume that this does not generally include cyborgs. The term Biophillia is derived from the Greek words for “life” and “love or affection;” making its literal translation “love of life.” This meaning is fundamental to the biophilic ethos, which utilises natural materials, patterns, and phenomena to maintain a connection to nature within the built environment. Biophilia is more than just a philosophy, biophilic design has been found to support cognitive function, physical health, and psychological well-being. Biophillia is however the concept and belief of one man Edward O. Wilson and although the idea has been hugely accepted and encouraged by scientists and academics, it has to some been questionable, as is everything in this world/reality, virtual or not. In their paper, 'nature and I are two': A critical examination of the biophilia hypothesis, Yannick Joye and Andreas De Block argue that evolutionary psychology cannot be the scientific ally of a broad anthropocentric environmental ethics, and go head to head with Wilson clarifying that there is no real research evidence, and they go on to say that evolutionary psychology is disputed as a science because the more robust findings of evolutionary psychology do not clearly point in the direction of evolved needs and preferences for life and life like processes (Joye, Y. and De Block, A. 2011). I would agree that not all individual representations of biological idiosyncrasies are evolutionary adaptions, but regardless of such critical opposition, there is now increased scientific research that is identifying the neurological connections and neuroplasticity behind the hedonistic benefits and effects of being exposed to nature (Kim, G.W. et al 2010).

Of course, currently, we are all (mostly) living with technology, for some, it is a noose around their necks, but others embrace it and where it is taking them. For most, it is accepted and has become an integral part of everyone’s lives, although some would argue that the latest generation of teenagers/adults are the snowflake generation, over sensitive and ill-prepared for adult life (Nicholson, R. 2016). Does the constant use of phones and the head down lifestyle have anything to do with this and what does that mean for the next generations as we become more reliant on our relationship with technology etc. Su Thomas, an English writer, explores the impact of computers on everyday life and the connection between nature, life and technology. The concept Technobiophillia was devised by Thomas and in her book with the same name and she concludes that we have an innate attraction to life and life like processes as they appear in technology and that we should connect our lives in nature with our lives in the digital, that we should contribute to our well-being via a tech-nature balance, and we should support future biodiversity as technology and nature move closer together. (Thomas, S. 2013). Thomas offers new insights on what is commonly known as 'work-life balance' and explores ways to make peace with technology-induced anxiety and achieve a 'tech-nature balance' through practical experiments designed to enhance our digital lives indoors, outdoors, and online. My concern is that this balance will inevitably become more technology based and nature will be left to programmers and be encoded as a concept within a digital virtual reality, if it isn’t already (Bostrom, N. 2003).

In his book Transhumanism, Nature And The Ends of Science Robert Frodeman accepts that science and technology have been a timely blessing and benefit to humanity and its condition, and how, for so long humans have had so little in terms of medical care and materialistic comforts and are now reaping the grateful benefits. However, Frodeman goes on to express his concerns over humanity’s desire for more, which has led us down a destructive and nihilistic road to a junction where humanity can pursue its transhumanist needs and desires with the more being ever perpetual or we can re-evaluate and end our attempt to live our lives at the speed of electrons and concentrate our energies to a more burgeoning movement populated by the direction of Buddhism and maturity rather than a runaway express train of technology (Frodeman, R. 2021).

The benefits of nature and restabilising a connection with it, especially from the concerned viewpoint of a failed future within human society due to technological advancement.

Prior to the mainstream use of mobile phones, tablets and especially the internet, children used to play outdoors more, I know this, because I was one of them and I have watched as mobile phones have taken over people’s lives (myself also included). The door to nature seems to be closing, if not already shut. It is time to take it off its hinges and at least let the light back in with the hope of it luring us outside again. Nature is as important to not only children but all of us, as much as food and sleep and if we let it slip away, the evolution of posthumanity will not be pretty.

Notes from Anya:

Lots of good starts and stops in it and things to pull out – at the moment it is really unclear what the actual essay is about as you have too many tangents and no thruway – lots to talk about tomorrow.

Notes from Anya in essay:

MACAP709 ESSAY ALDOUS GEORGE JAN 2023[2305843009214962754].docx

Download DOCX • 1.77MB

Notes from second tutorial with Anya 1.12.22

Cut sentences in half,

How do artists relate to transhumanism,

Find Biophilia and rewilding in artists work,

Break it down and be consistent,

Structure and focus,

Not really saying much,

Who am I speaking to?,

It feels like a manifesto about the end of the world,

What are we going to do about it?,

Talk about art projects that bring awareness and how an audience might experience it,

Acroyd & Harvey maybe?,

Sub titles are a bit long

Talk about my past and relevant life experiences

New document with focus on structure,

Intro,

What is transhumanism, rewilding/biophilia,

Talk about the bridge,

Bring artists into it more,

Conclusion,

Reflections on where I am at and leaving reader with questions to ponder.

REFERENCES (For 1st Draft):

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