Essay Draft 2: 12.12.22

Further reading for my links between art, nature, how we perceive nature, oncology, object orientated oncology, ecology, a posthuman future or preservation of what it means to be human, artists, writers and thinkers and their ability to encourage a shifting of how we think and what should be done.

Note For Anya:

I have changed the essay title to a more relevant one.

I have addressed all the notes you sent me, deleted some parts and elaborated on others and rearranged into a more making sense and flowing way.

I hope this feels a bit more structured and flows with a more defined subject. I have discovered a deeper link between Morton and Eliasson’s work.

I still want to add a bit more about artists whose works is more immersed in nature itself with emphasis on its benefits within the last section Artists, Writers & Thinkers.

I am still considering referencing my own relevant life experiences and how I wish to offer being amongst the trees to people as workshops.

And obviously I need to add a conclusion where I will try to link all my debate succinctly with reflection and my own stance.

Word count for the written essay part so far is around 4600, I plan to add another 1000 to the last section Artists, Writers & Thinkers and another 1000 for the conclusion taking me up to around 6600.

Essay Draft 2:

MACAP709 ESSAY ALDOUS GEORGE JAN 2023

Art: The Reality Machine

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

I would like to put forward my concerns 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. Before the transition of a transhumanistic goal of being posthuman really kicks in or before humanity self-destructs, I would like to use this essay to encourage what I feel as an inevitable fall back to old ways, our connection to nature and a rekindling of passing on fundamental life skills and knowledge. In short, I have concerns about the possible Icarus effect of pursuing transhumanism, where failure is possibly brought about by the very elements that will lead to an initial success and why art and nature will be our saviour and how artists and contemporary philosophers such as Timothy Morton are playing a major role in helping the world acknowledge and bring about change.

Dr Ruth Allen reminds 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 cataclysmic disruption 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 (Allen, R. 2021).

The focus of this essay will lightly discuss the Anthropocene, Transhumanism and Biophilia and go more in depth on what we perceive as nature, and how art is agency for change, not just as a concept but through an altered perspective, and how creating a work of art can “mess directly with cause and effect” (Morton,T. and Eliasson, O. (2015). Throughout this essay will be a theme that echoes Allens concerns alongside my own: that we must consider our definition of nature and 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 p.54).

Running alongside this focus and bolstering these concerns and remedial theories will be discussions about how artists, writers and philosophers can bring about awareness to conclusive considerations about where technological ontology is taking the human species. This in turn will prompt questions around alternative ways of thinking about a future connection with technology and encouraging a relationship with nature and ways to rewild ourselves (Barnes, S 2018). It is time for artists and visionary thinkers to raise their voices and help try to fathom realistic solutions to defend the planet and solidify a place beneath the surface in the restoration of humanities relationship with themselves and the planet. Collaboration between artists and thinkers will help produce diverse ways of engaging their audience, giving viewers a deeper concept of considering alternative ways of situating ourselves within nature. This in turn will prompt questions as to 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.

Anthropocene, Transhumanism & Biophilia

Is life on Earth becoming permanently altered by humans with the stripping of minerals and resources, technological consumerism, 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 increasing at an alarming rate 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)

Alongside the environmental impact being caused by the effects of the Anthropocene, is the questionable ethics and impingement of mental and physical states of the human body, consciousness and all that relates to ontology through the advanced use of technology.

[W]e are now witnessing the end of an order of life and ways of being human… We are literally changing our minds, the ways we think, live, and relate to each other and the world, and in doing so we are changing what it means to be human. – Judith Bessant (2018)

This advanced use of technology is at the heart of a relatively new movement called transhumanism. Max More and Tom W. Bell co-founded the first official transhumanist magazine, Extropy, in 1988, which was linked to the first official transhumanist movement, extropianism. Transhumanism first appeared in philosophical documents outlining core transhumanist tenets in 1990 with More’s paper Transhumanism: Towards a Futurist Philosophy. (More, M. 1990)

Transhumanism is a class of philosophies of life that seek the continuation and acceleration of the evolution of intelligent life beyond its currently human form and human limitations by means of science and technology, guided by life-promoting principles and values. - Max More (1990)

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” (Huberman, J. 2021, p.224) and although not all transhumanists share 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 will be discussed further on), 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.1):

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 what we think we perceive it as and that we can have a physical and mental connection with it. Biophilia is an innate human instinct to connect with nature (Wilson, O.E. 1984) and other living beings. The term Biophilia 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. Biophilia 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 (Joye, Y. and De Block, A. 2011), 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 heavy 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).

A human life without limitations is no longer human. Our personal identities and our social structures are built upon the assumption of our struggle against limitations. As a project in search of infinity, transhumanism isn’t proposing a new and improved human; its calling for the destruction of humanity. - (Frodeman, R. 2021, p.116).

Artists, Writers & Thinkers

“Rewilding our lives is a means of rekindling our inbuilt affinity with the natural world – our innate biophilic tendency” (Allen, R. 2021, p52)

Let’s discuss 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. In his book Last Child in the Woods Richard Louv coins the phrase ‘nature-deficit-disorder’ which serves to describe the human costs of alienation from nature. Although Louv states that he is not suggesting that this term represents an existing medical diagnosis, he does feel that some conditions such as diminishing uses of senses, attention difficulties, and higher rates of physical and emotional illnesses could be accounted for from the lack of nature in peoples lives. “If children do not attach to the land, they will not reap the psychological and spiritual benefits they can gleam from nature, nor will they feel a long-term commitment to the environment, to the place.” (Louv, R. 2013, p.159). Knowledge about nature is therefore critical for a sustainable future that can strike a balance with technology and help to steer away from the transhumanistic need to strip humans of identity. “Passion is the long-distance fuel for the struggle to save what is left of our natural heritage and – through an emerging green urbanism – to reconstitute lost land and water.” (Louv, R. 2013, p.159). Louv goes on to suggest that passion can only be found, learnt or discovered through the muddy hands of the young as it travels along grass-stained sleeves to the heart and soul of the child within (Louv, R. 2013). Although Louv is pointing his theories and ideas towards the teaching of children it obviously stands for the re-kindling of anyone’s relationship to nature, themselves and their environment no matter their age.

Artists, writers and thinkers play a major role in our inevitable transcendence into our future relationship with ourselves and the planet. It is now time to seriously listen to these people and others, including 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 lost ways 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.

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 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 that are interested in Transhumanism and how our bodies will be adapted in the future, but do not necessarily agree with it or are just creating work for the viewer to become inquisitive and make their own judgements, are starting to create debate. One such artist is Matthieu Gafso, A Swiss photographer whose work is deeply centred around what it means to be human. Gafso’s latest work, book and exhibition H+ is a photo journalistic journey highlighting what Transhumanism stands for in present times. Tracking the biohackers working in garages to major labs, the objects and sometimes the concepts related to this movement, Gafso visually reports a journey of discovery to reveal a patchwork of ideas and practices dedicated to enhancing human minds and bodies. It also seeks to expand the boundaries of sensory experiences, with unprecedented implications for artistic representations. “It is the sum of various fragments that weaves a network of meaning. There are, therefore, many defects and deformations. Gafsou testifies here of the latent violence involved in the technological transformations under way” (H+, no date). Gafsou’s H+ work could be considered as both a historical document and as a possible warning for the future.

Technology is not this neutral lovely creature we usually tend to believe it is. It is always related to some ideology, to power, money, people’s aspirations. I hear scientists say they are working for the common good; I know they’re not necessarily lying but I believe they are often wrong. Matthieu Gafsou (Lea, T. 2018)

It could be argued that the accelerated progress in the advancement of technology, especially within medical science is hugely beneficial to the care and longevity of human life but will this be enough to justify the possible negative effect of identity loss and the augmented future of humanity. Asking such questions and drawing debate on these issues, is artist 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.

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 (Blasdel, A. 2017), which for me also includes the potential damaging effect of controlling and altering ourselves. Morton goes on to suggest 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 facing what we have ignored for too long. 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 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. Morton clarifies this by stating that, “OOO offers us a marvellous world in which being a badger, nosing past whatever it is that you, a human being, are looking at thoughtfully, is just as validly accessing that thing as you are.” (Morton, T. 2021, p.10). 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. In a talk with artist Olafur Eliasson at Eliasson’s Reality Machines exhibition in Stockholm’s Moderna Museet, Morton explains that “There are some ecological chemicals in consumerism” and goes on to explain that substances themselves especially drugs or alcohol tell you how to drink/take them and that free will has to some degree been learnt from consumerism.” (Morton,T. and Eliasson, O. 2015). However, the fundamental issues and concept is that there is a need for radical change towards a more considered connection with nature. This change needs to encourage people away from industrialised capitalistic greed, the societal breakdown through cultural and hierarchy pyramid systems and the materialistic need to have the best plasma holographic interface (screens). In its place there needs to be an undressing 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 our 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.

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)

Eliasson is highly attuned to the ideas and theories of Timothy Morton, especially around OOO and how caring about ourselves and the planet is deeply connected to “transitioning to caring about nonhumans in a more conscious way” (Morton, T. 2021, p.55). Eliasson flies Morton around the world to present Eliassons exhibitions with philosophical debate about art, nature and their connection to ontology. Morton is equally in awe and shows a keen sense of admiration for Eliasson’s work which he compares to the importance of how art engages with its audience. “Art is important to understanding our relationship with nonhumans, to grasping an object orientated ontological sense of our existence” (Morton, T. 2021, p.57). As mentioned earlier, one such talk was at Eliasson’s Reality Machines exhibition, where the two spend an hour talking tangibly about nature, art and how viewers are perceiving not only the art but their environment and even reality itself. Eliasson claims that his works of art are thoughts from the future, and therefore an unthought thought and that this has benefits that help the re-evaluation of thinking about how he expresses his concepts in a meaningful way. Morton backs this up with “Eliassons work allows the viewer to have trust and self-confidence and allow themselves to be moved, to be disarmed and allow yourself to be moved, like the artwork.” To which Eliasson replies “like seeing your own shadow at the exhibition and how lovely it is to look at, the shadow makes you move, bringing a structure to a feeling that has not yet arrived in your consciousness” (Morton,T. and Eliasson, O. 2015).

The Reality Machines exhibition curiously shifts sensibility, and it is not always obvious where the art object ends and the viewer begins. The focus transitions from the art object itself to the actual experience of seeing. Eliasson’s works also give rise to situations that challenge, renegotiate and reinterpret our perception of reality (Modernamuseet, 2015).

Elliasson’s work Ice Watch (2014), involved harvesting 80 tonnes of ice from Greenland and arranging it like a watch outside the Tate in London, in Paris and a few other cities, which was a visual representation of the fact that ice is melting, and time is running out. The work was more than about this though, it was about how people interacted with it and a big part of the project was documenting all the various ways the ice could be accessed. This is way more powerful than just staring at an image where the aesthetic experience is about the data the viewer receives or the qualities that are experienced to understand or make judgement. Work like Ice Watch begins to fuse people with objects and relate and understand their surroundings more personally. “Ecology explicit art is simply art that brings this solidarity with the nonhuman to the foreground” (Morton, T. 2021, p.58). Eliasson’s work vibrates with a deep animistic energy that is entrenched in physical experience and natural phenomena. Talking about Ice Watch Eliasson says “It’s literally in our bodies, in our brain, and hence I wanted to change the narrative of the climate from the brain and make it an emotional affair into our bodies, it’s about connecting what we know with what we are” (climateconference, 2015).

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