Our performance -how we consume, how we waste- is incontrovertibly connected to the state of the environment. We have always had a desirous relation to nature- whether agrarian or industrial, literary or aesthetic. As our technological culture accelerates toward entrepreneurial environments, bonding with Big Nature may come… well, naturally.
Recently, critic and landscape architect Richard Weller pointed out that “landscape architecture is yet to really have its own modernism, an ecological modernity, an ecology free of romanticism and aesthetics”. Because of their functionalism, we are tempted to understand these nexts landscapes as a kind of ecomodernism. But to flourish, they will need to appeal, if not to our sense of romance, at least to our sensibility about how decisions we make today impact the future. We are no longer innocent; contemporary culture is coming to grisps with the Anthropocene epoch, a period that, Nobel Prize-winning chemist Paul Crutzen suggests, began in the late 1700s with the onslaught of fueled human activity.
The onus of our new environmentalism includes a call for an advanced stewardship that is not just about protection or remediation, but an entrepreneurial redefinition of our relationship to nature.
Jane Amidon, Big Nature (2010)
Why does the project result in isolation? In fact, the question has already been answered. Each project is above all the declaration of another, new future that is thought to come about once the project has been executed. But in order to build such a new future, one first has to take a leave of absence, a time in which the project shifts its agent into a parallel state of heterogeneous time. This other timeframe, in turn, disconnects from time as society experiences it –it is de-synchronized. Society’s life carries on regardless– the usual run of things remains unaffected. But somewhere beyond this general flow of time, someone has begun working on a project -writing a book, preparing an exhibition, or plotting a spectacular assassination- in the hopes that the completed project will alter the general run of things and all mankind will be bequeathed a different future: the very future, in fact, anticipated and aspired to in this project. (…)
The author of the project already knows the future, since the project is nothing other than the description of it. And this is why the approval process is so highly unpleasant to the project’s author: at the earliest stage of the submission, the author is already asked to give a meticulously detailed description of how this future will be brought about and what its outcome will be. While the project will be turned down and refused funding if the author proves incapable of doing so, successfully delivering such a precise description will also eliminate the very distance between an author and the others -a distance critical to the entire development of the project. if everyone knows from the very outset what course the project will take and what its outcome will be, then the future will no longer come as a surprise. (…)
Sartre once described the state of “being-in-the-project” as the ontological condition of human existence. According to Sartre, each person lives from the perspective of an individual future that necessarily remains barred from the view of others. In Sartre’s terms, this condition results in the radical alienation of each individual, since everyone else can only see this individual as the result of his or hers individual, and never as heterogeneous projection from these circumstances. Consequently, the heterogeneous parallel timeframe of the project remains elusive to any form of representation in the present. Hence for Sartre, the project is tainted by the suspicion of escapism, the deliberate avoidance of social communication and individual responsibility. So it is no surprise that he also describes the subject’s ontological condition as a state of “mauvaise foi” or insincerity.
Boris Groys, Going Public (2010)
Particular conception of design processes; derived from Claude Levi-Strauss’s analysis of Edgard Allan Poe’s short story of two brothers who suffered a shipwreck caused by a whirpool. During the ‘Descent into the Maelström’, one brother, in awe of his immediate circumstances, is overcome with fear and drowns (engagement); the other brother detaches himself from reality, ensuring his survival by clinging to a floating drum (distance).
Gunther Vogt cit. Alice Foxley (ed.), Distance and Engagement (2010)
Gunther Vogt, Basel Novartis Campus (2011) (Christian Vogt photos)
Examining a number of strategies to popularize environmentalism in the United States, Damien Cave of The New York Times presented a prescient (and humorous) argument for environmental branding in his 2005 article, “It’s Not Sexy Being Green (Yet).” Cave’s essay, in the “Fashion and Style” pages, drew upon the expertise of advertising executives, cultural critics, and environmentalists to, in effect, make being green cool. Reflecting on past environmental crises, Cave recalled the 1970’s as an era of malaise, symbolized by the cardigan sweater President Jimmy Carter wore while delivering his “Crisis of Confidence” speech (1979), a speech that encouraged the general public to reduce their use of energy. This infamous sweater, once denoting lower thermostats and a dwindling energy supply, seems emblematic some twenty-five years later of a challenging and less prosperous time, synonymous with a “righteous denial of fun” and an unfortunate fashion statement. Ironically, Carter was the first president to bring photovoltaic panels to the White House, a fashionable statement of the time that was promptly negated during the Reagan years when they were disassembled.
That environmentalism might escape its sartorial rappings, Cave recognized the need to resituate the green movement for the twenty-first century. Following a number of experts who advocated a newly branded environmentalism -including Earth Day founder, Denis Hayes, who proposed “the easiest way to make something cool is to get cool people to do it”- Cave suggested environmentalism’s spokesperson might need to be a bit sexier than Jimmy Carter, asserting singer Michael Stipe or rapper Mos Def would be better candidates. To this end, Cave advocated the employment of numerous branding strategies, ranging from the use of humor and self-deprecation to irony and satire, even suggesting “conservation needs to become more trendy than a line of sneakers”.
So, why not draw from a broader rank of artists in this quest for coolness? Bruce Sterling, for instance, sci-fi author and founder of the Viridian design movement, could lend his skills in satire, as evidenced by a number of Viridian spoofs including the “Welcome to the Greenhouse” issue of Whole Earth.
Lisa Tider, Ecologies of Access (2010)
One of Beuys’ most popular and final pieces of art was a commissioned piece titled “7000 Eichen” (7000 Oaks). The piece was something Beuys considered to be a “social sculpture.” He was commissioned in 1982 to do a piece for Germany’s Documenta 7. He then delivered a large, mysterious pile of basalt stones. Somebody then noticed that if viewed from above, the pile made the shape of an arrow which then pointed to a single oak tree that Beuys had planted along with the stones. Beuys then went on to announce the full scale of the project: He asked that no stone be moved, unless it were to have an oak tree planted right beside its new location. For the next five years, numerous people pitched in to help this project reach full fruition. Although it was first viewed as controversial, 7000 Eichen went on to perfectly represent the idea of a social sculpture, in that it was defined as both “participatory and interdisciplinary.” Beuys had an insistence on making every human an artist all contributing to one piece, and what better example than this could he have produced? He united a community through participation, and changed the land around him and his community as a result. Now the city of Kassel, Germany is riddled with 7000 trees, and Beuys art has lived on, giving back to a community long after he has passed.
Douglas, Joseph Beuys (2010)
Being coherent with our own premises on knowledge, we borrow here a post from a Portland State University student’s blog about “INTRODUCTION TO THREE-DIMENSIONAL DESIGN” that describes with precision a famous Joseph Beuys action. In it, we can see clearly a typical case of participation becoming relationalism (see Exchange with the Audience). Beuys creates a device for people’s landscape transformation that needs to be developed complicity and collaboration among participants. This procedure open, in fact, a powerful strategy of design that changes the communicative structure of the typical work of art because even if the artist (or designer) is still there giving an opportunity and some rules to the public, the work of art becomes more than the landscape generated, the relational process open into the public, the birth of alliances, the people’s expression, and the transformation of the human landscape of the city.
Joseph Beuys, 7000 Oaks (1982)