All Art is Ecological (Green Ideas)

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Mostly though, I had the impression that Morton is an edgelord. And that he fancies himself a bit too much.(And of course he has to drop that he knows Björk, personally.) Generally, this whole text seems to be a justification for privileged Boomers ( and yes, Morton has to mention that he is Gen X). It's mental gymnastics to justify why "not caring is caring". And what do you think about his choice of “age of mass extinction” over climate change and global warming?

Environmental design/ Sustainable design – Some artists work with nature as a resource for particular aesthetic endeavors. Artists with an orientation to environmental design are interested in achieving particular formal aesthetic effects. In the 1980s and 90s, artists, architects, designers, and civil engineers explored ways to link art, aesthetics, ecology, and culture. [63] Naidus, Beverly (2009). Arts for Change: Teaching Outside the Frame. New Village Press. ISBN 978-0981559308. Macy, Joanna; Fleming, Pat (1995). The Council of All Beings in Alan Drengson & Yuichi Inoue, The Deep Ecology Movement: An Introductory Anthology. Berkeley, California: North Atlantic Books. Riegl, Alois. 1893. Stilfragen. Grundlegungen zu einer Geschichte der Ornamentik. Berlin: Siemens. [ Google Scholar] Stringfellow, Kim. "Safe As Mother's Milk: The Hanford Project (2003)". ACM DL. ACM Digital Library. Siggraph '03 Proceedings. {{ cite web}}: Missing or empty |url= ( help)Beyond the existential terror that hyperobjects can inspire, another common criticism is that the term is so sweeping and inclusive that it could be applied too broadly, to any object of sufficient size and complexity. Depending on your perspective, almost anything can be a hyperobject, can be inside one, or both. That doesn’t make the concept meaningless, though; it means that the deep reality of your everyday world is quietly full to bursting with the uncanny, both familiar and alien in equal measure. If you start recognizing hyperobjects everywhere you go, then Morton has, on some level, succeeded—in changing your perspective, in reorienting your ontology. Carruthers, Beth. "Mapping the Terrain of Contemporary EcoArt Practice and Collaboration". greenmuseum.org. Green Museum. Archived from the original on 4 March 2016 . Retrieved 23 August 2015.

Hotjar sets this cookie to identify a new user’s first session. It stores a true/false value, indicating whether it was the first time Hotjar saw this user.Kosok, Felix. 2021. Form, Funktion und Freiheit: über die ästhetisch-politische Dimension des Designs. Bielefeld: Transcript. [ Google Scholar] Weintraub, Linda (2006). Eco-Centric Topics: Pioneering Themes for Eco-Art (PDF). New York: Artnow Publications: Avant Guardians: Textlets in Art and Ecology. ISBN 0977742148 . Retrieved 23 August 2015. [ permanent dead link] But then, why the subjunctive? Shouldn’t the opening sentence of his book be something more like, “You ARE living through an age of mass extinction?” Weintraub, Linda. 2012. To life!: Eco Art in Pursuit of a Sustainable Planet. Berkeley: University of California Press. [ Google Scholar]