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Abstract
Environmental aesthetics is a branch of philosophy that
originated in the English-speaking world and is
developing in France. It aims to take a new look at how
relationships with the environment are constructed.
Often addressed from a landscaping, technical or
scientific angle, such relationships have remained largely
unaddressed from a cultural perspective, i.e., one that
includes a series of practices and values that represent a
human group. In this article, I will address
environmental aesthetics and how they point up tensions
between fixed and static visual representations of the
environment in the future and representations that can
accommodate ordinary encounters, relationships in the
form of narratives, “life productions,” anecdotes, and
constantly changing values.[1]
Publisher
Webmaster
Keywords
environmental aesthetics, narratives of change, ordinary
life, visual environment
I will begin by introducing one way of approaching
environmental aesthetics; then I will advance a renewed
interpretation of the environment; and, finally, I will
describe a reading of the environment which conditions
sustainable writing, i.e., taking into consideration the
cycles and trends that underpin people's attachment to
places in the present and the relationship with urban
nature in the creation of environments.
My aim is to be programmatic and to set out research
pointers, some of which are already being explored.
This work as such benefits from many existing contracts
and on-going research around the topic of nature in the
city,[2] environmental aesthetics[3] and art and the
environment. Recent research into inhabitants’
occupation of living spaces[4] and urban green
corridors[5] has focused on the relationships between the
occupation of ordinary living spaces and urban policies.
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1. One possible approach to environmental aesthetics
Environmental aesthetics is a science that seeks to
determine the factors that shape our understanding of and
the creation of natural and built environments which
produce an aesthetic type of satisfaction. It also strives
to better understand the intricacies of contemporary
aesthetics with regard to the construction of the
environment. Environmental aesthetics as such aims to
determine how a feeling of community emerges through
the creation of a shared aesthetic of the environment.
Aesthetics is part of the social processes that associate
knowledge, reflexivity, and communication. In this
sense, it is a matter of seeing which types of aesthetic (or
ethical) challenges are at work in the contemporary
fabrication and contemplation of environments.
The environment and the various agents involved in its
production are indeed central to the creation of
contemporary societies. This is true in the sense that
they create a new vision of an inhabited world: the Earth
as a globalized complex exists in the economic and
commercial sphere, in the realm of migrations and
exchanges in human, animal and plant populations and,
finally, from an ecological perspective and in terms of
the “finiteness” of a space. As the product of a humanity
that is increasingly aware of its biological-physicalchemical dimensions in relation to its living space, the
Earth – headquarters of a new urban species – is
developing into a series of urban entities. Scientific
ecology has, of course, pointed up one way that nature
works, but political ecology needs to experiment with its
political, social and cultural dimensions.
Seen as such, environmental aesthetics is part of a
predominantly English-language based school of
research inspired by the philosophies of nature.[6]
Current research into environmental aesthetics in France
is useful for addressing sensory relationships with the
city and helps to process and interpret field data. For
over three decades environmental aesthetics has focused
on topics such as nature,[7] landscape,[8] urban space,[9]
and everyday life;[10] it uses different strategies to
understand the values forged by the human community
with regard to its environment, however, it has focused
very little on art. Such strategies can serve as
frameworks when analyzing the values deployed by the
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inhabitant-actors encountered. As such, both so-called
“cognitive[11] and “non-cognitive”[12] assessments,
those focused on the role of imagination[13] and those
which involve the role of narrative[14] are taken into
account. These latter assessments, which are part of the
“non-cognitive” tradition, place value on things like
perception, imagination, pleasure, vernacular narrative,
oral tradition and folklore. Preference is given to the
ordinary environment, people and their attachment to
places, over extraordinary nature and a detached and
spectacular distancing: e.g., the North Pole, the
Amazon. To this we can add the most recent
developments in aesthetics with the introduction of
ethics[15] and the relationship between aesthetics and
politics.[16] Environmental aesthetics is indeed
synonymous with active involvement.
Our research as such reflects analyses of the relationships
of dependence which exist between different parts of the
environment and the human beings who inhabit it. What
role is given to the intentions, control, and reciprocallyexerted power, symmetrical or otherwise, that urban
beings attribute to the forces of the world that surround,
invade or abandon them? The environment, both as an
ordinary environment and as it is understood in public
policy and individual and collective mobilization,
possesses agency, i.e. the ability to affect the individuals
and groups living in its midst. Whether a human, animal
or object,[17] an agent is defined as something with the
ability to initiate or influence events in its close
surroundings.
For example, an animal can instigate social interactions,
as our interview with one Parisian woman revealed:
Here the cats create a whole network of
conviviality. Why is an animal needed to
create social ties? What type of social ties
can an animal create between people who do
not know each other? The only thing they
have in common is the cat or dog. Here,
when our neighbors visit us, we talk about
Leo the cat. To make small talk we chat
about the cat, about what he’s done recently,
just like we would talk about the person next
door. It is the neighborhood pet.
The agency placed on the cat as an element of the
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environment and its features is directly connected to the
way it is defined aesthetically (shape, color, style,
rhythm, makeup, etc.).
Another example is the cockroach or Blatella,[18] which
is defined by the repulsion it creates. Our research in
neighborhoods comprised of social housing and other
more prosperous areas revealed that imagination,
metaphors, and anecdotes are the most common means
of sharing living space with this animal which inevitably
draws upon references to poorly-managed or even
run-down cities, a lack of nature, or nasty
surroundings.[19] This insect of tropical origin takes
advantage of the ecological opportunities afforded by the
modern city. It conjures up dark images, similar to the
apartment blocks where it is often found. As one
non-native inhabitant of Rennes said: “cockroaches
come from people of dubious hygiene…,” “people’s filth
encourages the presence of cockroaches; some people
keep waste in their homes….”
The intentions which we attribute to animals – and to
cockroaches in particular – is surprising in more than one
respect: “Nothing can stop them; they are very sly, as
soon as they see that we’ve seen them, they
disappear.…” Moreover, cockroaches hark back to the
subterranean city where dark forces dwell; cockroach
nests are located under buildings where at one time there
were wetlands. Like water, this animal takes advantage
of each crack to slide, slither, and penetrate inside
people’s homes. As another inhabitant of Rennes said,
“One person who came to visit me said that it was
normal that I had them since my home was on a water
source; it's awful...."
To date, this field of research and investigation has not
been explored in much detail. [20] Further research is
necessary, since we know very little about how the
environment as a collection of socio-natural problems
worthy of public policies reactivates and renews the
relationship between inhabitants and their living space,
the city, nature and countryside, and with compound
categories, such as city and nature, inhabitant and
citizen. We are trying to gauge the extent to which the
environment plays a role in reshaping the framework of
our sensory, imaginative, and emotional experience of
the world and the extent to which it affects our
understanding of the world, i.e., our frameworks for
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understanding what is happening. How does the
environment bring geography in the broadest sense into
play, meaning a new means of conceiving the horizontal
and vertical dimensions of the Earth and landforms?
2. Which environment, which aesthetics, and which
city?
What do we actually mean by environment? In unison
with other researchers concerned with making the
environment a social and cultural topic and not solely a
technical and scientific one, we can define the
environment as the places where we live, work, and play.
It is comprised of the ordinary places of everyday
existence seen from an angle thus far ignored, i.e., that of
the relationships between nature and culture, between
what is born and what comes about, and what is
produced and thought.[21] That is the angle of
interaction between cultural and symbolic and scientific
and technical materiality.
In the context of my research, environmental aesthetics
primarily concerns the city as a constructed space, its
changing patterns and extraordinary transformations: its
spaces and the ordinary, concrete as well as professional
and expert production of the environment. Is the city not
the focus of a growing awareness about the fragility of
the planet and the price to pay for the loss of its
respirable atmosphere as well as the very numerous
species that populate the environment? Has the city not
become home to a civilization that encourages density,
proximity, and traffic, people and goods, in a shared
space? Many of the problems that exist can, of course,
be understood locally, whether they involve goods,
people or even symbolic exchanges, but they can also be
understood globally by looking at the links of one local
situation with other localities. When urban planners
discuss the urban fabric, they now consider different
levels of action.
Such ideas underscore the importance of an aesthetic
perspective. Will this perspective help unravel what is at
stake in the city as the most common modus vivendi and
vector for human development? Are urban environment
and aesthetic experience not inextricably linked? Cities
are beautiful and a showcase for the monumentality of
human infrastructure. They are always under
construction and inherently embody environmental
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challenges, and it is important to be democratically
aware of such challenges, i.e., in a shared manner. And
yet city dwellers have a relationship with the
environment which is often more aesthetic than
scientific. Finally, building the urban environment
requires a shared mastery of the relevant tools and
choices.
In sum, adding complexity to analyses and deployment
of the urban environment necessarily involves taking
account of both ordinary and scientific concerns - and,
thus, urban forms - as well as the experience of the city's
biological, physical, and chemical materiality which, in
addition to appealing to sensations, calls upon
representations shaped notably through individual and
collective mobilization.
One good example of this is atmospheric pollution. This
example has been used numerous times (and has even
been the topic of publications).[22] Our study was based
on nearly sixty semi-structured interviews focusing on
air pollution practices and representations among the
population of Strasbourg. Half of the sample was made
up of asthmatics and people allergic to grasses, based on
the “case-control” study principle in epidemiological
studies. Two interviews with ASPA, the French
association for monitoring and studying air quality
(known as AASQA in the Alsace region) and a review of
news articles in which ASPA was mentioned were also
carried out and compared with air quality measurements
(both interior and exterior) conducted by doctors and
chemists.
The study pointed up three main findings: 1. The people
surveyed paid little attention to information on air
pollution. They used sensory information (e.g. smell,
sight, and noise) to forge an understanding of the
phenomenon. 2. The objectified and standard scientific
information available on air quality from the ASPA is
very different from inhabitants’ sensory and empirical
knowledge about air pollution, which is bolstered by
their attachment to a social and identity-based reality.
The contrast between these two realms of knowledge
concerning a physical-chemical phenomenon is quite
striking. 3. The practical means of avoiding pollution
for city dwellers involves symbolically connecting it to
other environmental phenomena. For example, some of
the people surveyed believe that green spaces protect
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them from pollution. Such reasoning is based not on
solid scientific knowledge but on a feeling that greenery
purifies and that the “garden” image that it conjures up, a
heavenly place in many religious cultures, can offer
protection from pollution experienced as the product of
unnatural human activity. It is thus clear that
nature-based cultures, which are based on an aesthetic,
proactive view of the environment, play a fundamental
role in understanding the environment and in shaping the
related practices. Such an observation doesn’t mean we
should rely only on everyday experience to understand
what is environmentally meaningful. We would hope to
generate environmentally significant public action based
on hard facts.
Numerous forms of mobilization, however, point to the
emergence of new cultures and representations of nature
that include the long term, recycling, use, impermanence,
etc. These also take into consideration social-biologicalphysical-chemical interdependences on different scales.
This “ecological” aesthetic in its broadest sense
encourages people not to overlook the ordinary
environment. In order to live, people adopt an everyday
aesthetic, which reflects how they understand and fit into
their milieu. This everyday aesthetic has several facets:
home layout, the position and choice of furniture, how
the garden is decorated, interior design, etc.[23] It is
important not to forget the importance of people's
attachment to their living space reflected in the creation
of shared ways of living. With regard to nature, social
practices reveal a new awareness of plants as well as
animals. An animal that is considered to have intentions
expresses a degree of autonomy. The same idea is
expressed differently by Olivier Darné, a Parisian artist
and beekeeper and member of the Poetic Party: He
argues that bees show us the culinary diversity of the
city; their pollen gathering is like hunting for a treasure.
“Concrete honey” is the result: it is the “Pollination of
the city.”
At the heart of the urban bee’s ‘pollengathering zones,’ the Poetic Party is creating
an interdisciplinary team of artists, botanists,
urban planners, anthropologists, walkers,
beekeepers, inhabitants and onlookers… to
examine the urban and human genre in the
space that we all share within the urban
agglomeration: “mankind’s beehive.”[24]
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How is the meaning that we collectively ascribe to the
environment actually constructed? Aesthetic
understanding is one element in the construction of a
future urban environment on a human scale. Thus, we
realize that environmental aesthetics is not solely an
artistic matter, although this does constitute one aspect
when artistic practices address the environment and
encourage us to revisit the “distribution of the
sensible.”[25] Looking at the urban environment also
involves studying how its different components refer to
different possibilities for action and possible worlds.
Derelict land, for example, is synonymous with the
uncontrolled proliferation of vegetation in urban space; it
is associated with a visual cacophony and unmanaged
areas, and it belongs to the category of abandoned or
contested social spaces.
Several arguments underscore the importance of
environmental aesthetics. Both urban and aesthetic
environments are bound up with day-to-day gestures
vis-à-vis nature. We call this creating a lived
environment and its importance in the city is
unquestionable: from home to habitat, through different
ways of thinking and action. The choice of objects in
domestic space and their tasteful placement make up
what we may define as a work of ordinary environmental
dramatic art. A flower pot does not sit just anywhere,
just as windows do not open onto meaningless
landscapes. Such a view of aesthetics (in its relationship
with the urban environment) should not overshadow the
fact that it is a means of describing the ways in which
inhabitants contribute to ordinary life. Whether this
involves different ways of gardening in the city's shared
natural spaces, letting animals proliferate in common
spaces or organizing one’s home and private space
(according to the sun, light, or air, for example),
inhabitants, and city dwellers more specifically, forge a
relationship with the natural and built environment and
construct and showcase an ordinary creativity which, as
it exists in public and private space, affects the
environment (and could do so even more).
Examples of collective mobilization point up the
importance of nature in living arrangements. Inhabitants
become spokespeople for nature that is threatened by
infrastructure projects and express the desire to protect
or, conversely, to develop it. We may then speak of
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environmental communities associated with their living
conditions and prepared to defend such conditions in the
heat of the moment. Such concerns are obviously not
only about the “local” aspect and local issues; they are
also shaped by thoughts about more or less remote nature
whose existence is learned about notably via new forms
of media.
Such increased awareness of the environment involves
professional practices and those who are involved in
producing the environment (landscapers, architects,
urbanists, as well as planners, artists, etc.). These
different professionals design spaces, link up with public
institutions, and have their own goals. For example,
Jeroen Van Westen, a Dutch artist, had to redraw a river
according to the narratives of inhabitants. He describes
his method:
In order to get acquainted with the area I
invited Maarten van Wesemael to travel with
me around in the area. We made
observations, interviewed locals,
stakeholders (big farmers, the local tourist
board, the museum for peat history) and the
commissioners (the Ministry of Agriculture,
the Municipality of Emmen, Water
Management). It was my first step from a
theoretical artistic approach to actually
contributing to the transformation of a
landscape. It was explicit from the
beginning that I would not design a
sculpture, but rather the landscape would be
the piece of art. A piece of art has an author,
a creative power in charge. Since landscape
is the expression of the interaction between
cultural and natural forces, the author is
obviously not an individual but also a
combination of both. A metaphor was born
that had to be developed further. Could the
water that created the swamp not only be the
creative force to change the dusty land, but
be made visible again as a signature, an
inscription of the landscape of the mutual
articulation of nature and culture. If we
wanted the signature to tell the history of
cohabitation, we would need the inhabitants
to tell their part.
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These professionals introduce expert knowledge into the
production of space, which involves the know-how of
builders of the natural environment, and they forge both
an aesthetic expertise of shape and the layout of space
and the city’s forms.
Finally, the environment has to be represented by words,
images, and sounds. Different media pay tribute to the
environment: news articles, documentaries and
blockbuster films all celebrate its beauty or reveal the
elements behind a contemporary or future catastrophe
(polluted sites, toxic clouds over cities, etc.). Witnessing
such prophetic evidence sometimes bothers people.
Ecology is reduced to a spectacular vision. More
modestly, the role of artists in the dramatic
representation of nature’s exploitation is important and
helps drive nature conservation policies outside cities.
Aside from quenching the thirst for information and
constantly enhancing environmental awareness, the
internet – the “network of networks” – now helps sound
environmental alarm bells and create action communities
which gain in importance and visibility through this
media (for example, a social movement to protect a
species or place threatened by developers). These are
collective mobilizations and social movements that
provide a public outlet for urban environmental issues.
Ordinary aesthetics and environmental mobilization,
regardless of whether they are professional or related to
these new media, are key concepts for understanding the
urban environment. All are profoundly political and
highlight the extent to which the value placed on
environmental topics, and the hope that they will outlive
us and become part of a sustainable vision, are part of the
political process and, in a democratic society, the subject
of deliberation and decision-making. Combining the
environment and aesthetics is the product of such effort.
It is indeed a matter of making sure the environment, all
of it and not only nature endangered by human activity,
is accessible as an aesthetic object in comparisons of
different perspectives that underscore shared values, and
the importance of turning it into an object of collective
rather than a strictly scientific debate.
A highly critical interpretation of aesthetics is of course
possible. Born in the eighteenth century and bound up
with feelings of beauty and the sensations, the most
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common vision of the discipline is often limited to the
idea of decorum and criticised for its participation in the
production of all things “spectacular.” It is involved in
manipulating the masses, helping politicians cheat, and
sustaining the silent suffering of those with hard lives.
There are indeed numerous forces that serve to discredit
it. Thus, artists who are awarded publicly commissioned
contracts, cannot avoid critical language describing their
instrumentalization. They are seen as the tools of an
order which completely stifles their freedom and
autonomy, mere pawns of the ruling power, creators
reduced to the role of artisan or false prophet. As the
Greenwashing exhibition showed, the role of ecological
artist can indeed be reduced to practically nothing. In an
introductory dialogue in the exhibition’s catalogue, the
curators noted,
The most superficial but environmentally
friendly way to organize an exhibition
would be to not invite a single artist, to not
transport anything, to turn off the lights and
heating in the gallery. Like all societies, we
have become so accustomed to believing
that an ecological gesture involves a
sacrifice or abnegation that such literal
suggestions now strike us as perfectly
sensible.[26]
Although taken out of context, this extract points up the
contradiction with which artists, curators, and visitors are
confronted. The safest bet would be to send ecology
back to the scientific research and public policy spheres,
and to get as far away from it as possible in order to
escape from the effects of such manipulation.
3. New writing on the environment
There are numerous critical interpretations but they all
aim to underscore how the environment is shaped by
rules set by an authority. Unlike these critical
approaches, we believe in a resolutely pragmatic
approach whose goal is a detailed description of the
complexity of lived situations and their emergence, as
well as the inextricable interweaving that gives them
theatrical and dramatic scope. Here the use of aesthetics
requires a shift in the way we write about environmental
issues in order to place them in a poetic register rather
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than mathematical problem/solution-type of register. An
aesthetics rooted in totalitarianism does exist; can we
also speak of democratic aesthetics? If we are to believe
John Dewey, the famous American philosopher and
pragmatist, the democratization of aesthetic
experience[27] involves turning it into an ordinary
experience and testing it on a large audience. Such a
writing of environmental issues would require a broader
understanding of environmental issues.
What type of ecological writing is needed to create a
major shift in the natures of culture and cultures of
nature? Every solution is a solution to some problem,
i.e., the resolution of a coherent series of statements into
one or more definite proposals. And yet, a scientific
problem-solving approach is, perhaps, not applicable to
the extreme complexity and uniqueness of the ecological
problems and issues engendered by our society’s
development from the nineteenth century on. How then
can we think about such ecological changes?
Environmental aesthetics does not, in this sense, simply
involve drawing attention to a set of previously ignored
facts. It aims to point up a new means of expressing the
ecological drama. For example, the construction of the
Alqueva dam in Portugal involved moving the
inhabitants of the village of Notre-Dame-de-Luz and the
reconstruction of an identical village elsewhere. This
was a technical solution to a technical problem. And yet
despite being consulted over a long period, the
population of Notre-Dame-de-Luz was tormented by the
move. As Fabienne Wateau has argued, “it was not
participation that was at fault, but the poorly adapted or
falsely democratic and legitimising ways it was
presented.”[28] In this case, like in many others, there
was an obvious overflow of human drama into the
technical handling of a situation. While it may look like
the dam issue is technical and involves a confined natural
space, a complex ecological and human intermingling is
actually at play. It is impossible to technically solve
natural problems without also addressing the human
environment: e.g. the lives embedded in a territory, its
history, the values it embodies and the populations it
houses.
The same is obviously true of urban space: it provides
the setting for a dramatic scene par excellence and
encourages architects and urban planners to arrange
senses and bodies in such a way as to create an urban
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stage. The city’s public space, which is aptly described
by interactionist ethnologists and often seen as an openly
accessible urban space, tends to be the stage for these
amazing exchanges of dialogue between the urban
masses. It may even have been in urban space that the
art of composition in motion which is part of all dance
and/or types of drama was noticed for the first time. A
work of drama described as the art of exploring a
situation through dialogue, as English playwright
Edward Bond has noted:
I create situations which start off banal but
gradually become extreme in such a way as
to force people to explore their own
conscience, to use language to define
themselves and to define the situation in
which they are stuck. This is what leads to
changes in language, which increasingly
becomes a search tool as the situation
gradually evolves. The most useful
definition of a dramatic work is: the most
extreme form of concentration possible. And
the more the characters explore the situation
in which they find themselves, the more they
understand the position of others. Because
the situation is shared by everyone. [29]
Of course the same is true of the languages in the city –
and in space in general – which make up the ecological
stage play: as Joseph Beuys has argued,[30] language
itself is involved in the construction of ecological facts;
work on language per se, poetry work, enunciation work
- and not only criticism which introduces ecological
literature into the era of suspicion - is at the heart of
eco-poetics. How can this be represented?
For Jonathan Bate, who talks about the ecological work
of language in the literary creation process which would
complement (or even challenge) scientific and political
approaches,[31] and for numerous other ecocritics, it is a
matter of endowing natural processes with human
language and thus working to re-present them. Literary
texts, as such, become a sort of linguistic ecosystem
which Bate lyrically describes as follows:
It could be that poiesis, in the sense of
verse-making is language’s most direct path
of return to the oikos, the place of dwelling,
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because metre itself – a quiet but persistent
music, a recurring cycle, a heartbeat – is an
answering to nature’s own rhythms, an
echoing of the song of the earth itself.[32]
This organic vision of poetry bestows upon it a special
connection with the natural world through poetic
processes such as metre, rhythm, and the sonority of
words imitating sensory images. Language – and poetic
language more specifically – is part of nature’s
complexity. Working with language is a means of
reinventing the interaction between human beings and
the environment, and representations of nature.
Part of the environmental aesthetics approach thus
involves working both on forms in the environment and
on all forms of representation. It is worth noting that the
main argument underpinning this “dramatic” approach is
that the complexity and uniqueness of ecological
situations, combined with the diversity and disparity of
interests, opinions, and outcomes at play, result in
competing forms of rationality both for describing the
situations in question, assessing them, and attempting to
resolve them. The incredible diversity of places which
becomes the setting for fairly predictable or totally
unexpected ecological problems is a prime example of
this.
4. Self-examination and conscience
There are numerous cleavages between the processes at
work in the daily occupation of nature and spectacles of
nature; between the driving forces of life and “natural
commodities,” a fictional misnomer; between
self-experience and the concrete reality of nature. What
do these cleavages mean and what drives them? For
example, representations of nature and social practices
free themselves from the scientific characterisation of
phenomena. Social representations of plant life confer
more benefits than scientific knowledge. Urban green
corridors point up a large discrepancy between the focus
placed on this issue in public policy in France and
Europe, which has transformed a planning tool into an
ecological solution to numerous problems, and scientific
knowledge. Moreover, even if the ordinary experience
of places combines practice and representations,
language is not always in tune with the actions taken.
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Focusing on such actions challenges the role of scientific
knowledge in running contemporary societies. The ideas
that we come up with collectively have a degree of
freedom; scientific knowledge plays a role in shaping
these but does not determine them totally. We need to
define this freedom and understand how sensory
experience works as a register for shared knowledge and
as a way of sharing emotional and ethical impressions:
“what do I know?” is increasingly synonymous with:
“what do I feel?” We also need to acknowledge the gap
between ordinary life governed by the senses and social
life determined by images and image politics. We
consume images each time we move through space and
time: images of the Earth, images of the Amazon and of
aboriginals, the irresolute witnesses of the prehistory of
our history, images of destroyed places and of conquered
lands reserved for tourists, images of cities that have
become part of an unprecedented network of territorial
marketing.
As such images are produced, we attempt to counter
image politics with forms of environmental engagement.
We can counter images with descriptions of ambiences,
experienced landscapes, and participatory narratives.
This is the life of forms.[33] We therefore aim to
describe a “self-experience” and collective experience
which cannot be reduced merely to green capitalism; this
may become an important lever. Showing what can
exist, even if such modi vivendi remain marginal, is also
a means of pointing up new possibilities. A certain
individualism, lack of political confidence, and the
worsening ecological crisis have created an ambiguous
relationship with the environment: when it is turned into
a simple “green” image of places, the environment exists
through the strength of the market capitalism that exports
it. But let us not forget that it is also a self-experience
that sometimes allows a political horizon to be
rediscovered.
Through modest attempts to discover or rediscover
things that can be done for the environment, we can
actually counter the idea of an inevitable disaster or
pending catastrophe that obsesses many people today; it
is nonetheless incredible that in spite of changing
representations and discourse about the environment, in
contemporary French society[34] practices have actually
changed very little. And yet the goal is to boost
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nature-based cultures, to promote different visions of the
environment and perspectives on earthly elements, as
well as other, less depredatory means of appropriation
and ownership (cooperative management, pooled asset
management, etc.). The goal is no longer to proclaim
values or promote large, transcendental horizons, but
rather to promote a better everyday life which is more
tolerant and respectful than a civilization of “scraps” in
which each person scavenges what they can in terms of
time and space, in competition with others.
Ethical individualism then begins to mean putting one's
knowledge to work in a quest for meaning that will take
shape through political resistance, or maybe even forging
an ecological alternative. Politics then needs to be
reconsidered based on personal involvement. Like
Emerson’s democratic conception,[35] political
resistance truly tests people's self-knowledge. Such
political resistance is expressed through direct action
which sometimes aims to recast living spaces based on
how they are transformed. In such cases, the immediate
environment can create new types of action by becoming
a sphere for learning and development. However, we
must not overlook the fact that the environment is also
presented as an equivalent to the material bases of
existence, and is therefore opposed to politics based
solely on ideas and their application in everyday life or
in political life through membership of a political party.
The environment is located at the juncture of theory and
ordinary life. We have observed that individuals
involved in this type of politics believe that they cannot
handle their immediate environment alone in an urban
setting without the support of a group. All cases studied
in France, Germany, the Netherlands, and Russia
involved the creation of “environmental communities”
defined around an environmental issue. Inhabitants
transform their immediate environment through a
dynamic process that involves creating a community;
such processes are shaped by facing and resolving
conflicts, and by successes and failures in ecological
innovations, and the sense of feeling involved in one’s
choices through a shared process.
Between self-recognition and collective processes of
aggregation, the types of action which drive such trends
need to be analyzed. What appears particularly
important in case studies is the way this
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self-construction, which is very hypothetical and based
on the interplay between concrete action and recognition
by others, is part of a sphere of actions which allows it to
be precisely defined. It is not a matter of believing that
the success of an initiative depends on its materialization
in the eyes of others, but rather of understanding the
extent to which the success of both an individual and
collective undertaking depends on the actual quality of
the process employed. Analyzing such processes also
means understanding that the collective process of
cleaning up a river, for example, is an uninterrupted
sequence of commitments renewed over time which need
to be understood as such.
In sum, our analysis of different aesthetic investments in
the environment aims to point up two facets of current
development: the first involves the use of experience as
a sum of past actions that have profoundly transformed
individuals and their self-awareness (or their narrative of
an event) both on a personal and environmental level; the
second involves the transformation of such experiences
into a reality that turns capitalism into a driving force for
territorialised resources. Both trends are at the root of
tensions in the ecological field that tend to make it a
topic regulated by a balancing dynamic; either we obey
orders calling for action in view of sustainable
development and we become virtuous, or we disobey and
refuse to be instrumentalized by a cause whose complex
realities are difficult to assess: are we not simply dealing
with an economy that is seeking to renew its sources of
capital (“green economy,” “ecological modernization”),
or politicians seeking new legitimacy, or even
researchers in quest of more authority on the public stage
to the detriment of political choices?
We should note that nature understood as both a poison
and a cure leads to the creation of policies which are torn
between these two dimensions of action from the outset:
nature in the city is dirty, but it is also a source of life.
Nature policies are focused on health and/or aim to
reintroduce a specific kind of nature: e.g. ponds or
biodiversity which were actually driven out of urban
production in the nineteenth century. That said, studying
the creative part of ecological inventions can help our
case and point up numerous ambiguities: between
scientific knowledge (which involves writing up a
problem and its resolution) and common knowledge;
between social practices and representations; between
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the transformation of the material bases of existence
(which attempt to analyze naturalists according to
scientific knowledge) and common knowledge which
can be studied as a resistance to normative orders and the
desire for personal development. The decision to favor
cross-disciplinarity reflects a desire to understand the
complex relationships at play in the contemporary
environment. Environmental aesthetics make it possible
to study both the processes behind the emergence of
self-recognition related to the environmentalization of
practices or a deliberate and desired reconnection with
nature, and capturing such practices in images via a
capitalist system that promotes the globalization of built
territorialities and helps reduce them to a series of color
images.
5. Conclusion
We went looking for some of the numerous radical
alternatives that exist in the environmental field. Despite
their frequent discrediting and marginalization, these are
collective inventions which may help renew the
institutional framework and nurture reality. Such
experiences allow new research pointers to emerge
which afford us a better understanding of environmental
processes.
Nathalie Blanc
nathali.blanc@wanadoo.fr
Nathalie Blanc is a Director of Research in Geography at
the French National Centre for Scientific Research
(CNRS – UMR 7533 Ladyss). Her research fields
include nature in the city and environmental aesthetics.
She has published five books and one previous paper in
this journal, “Cockroaches, or Worlds as Images,”
Contemporary Aesthetics, volume 5, (2007).
Published on
Endnotes
[1] In Writing and Difference, trans., Alan Bass,
(Chicago: University of Chicago Press, 1978), Jacques
Derrida insists on the relationship between a synthetic
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spatial register which results in a concentration of time,
and the register of narrative which refers to the present
and to memory. The first register is similar to planning
and is represented by plans and diagrams. The second
uses narration, encounters and the endlessly deferred
production of definitive meaning. The narrative
ultimately works like a tense that seeks to express itself
using the future tense.
[2] Nathalie Blanc, Les animaux et la ville (Paris: O.
Jacob, 2000).
[3] Nathalie Blanc, Vers une esthétique environnementale
(Versailles: Quae, 2008). Nouvelles esthétiques
urbaines (Paris: éditions Armand Colin, 2012).
[4] See “L’investissement habitant des lieux et milieux
de vie: une condition du renouvellement urbain? Etude
prospective en France, États-Unis, Pays-Bas, Allemagne,
Russie. Réponse à l’appel à propositions de recherche
‘programme exploratoire de recherche prospective
européenne,’” PUCA, 2008.
[5] Since 2008, I have jointly coordinated a programe
that focuses on urban green corridors and the creation of
frames of reference (“Evaluation des trames vertes
urbaines et élaboration de référentiels: une
infrastructure entre esthétique et écologie pour une
nouvelle urbanité en réponse au volet 3: ‘Environnement
et risques’ de l’appel à projet ANR 2008, Ville
durable”).
[6] Philosopher Emily Brady (Aesthetics of the Natural
Environment (Edinburgh: Edinburgh University Press,
2003,)) argues that this new trend acknowledges that
natural environments are not only experienced as
landscapes, but also as environments in which the
aesthetic subject appreciates nature as dynamic,
changing, and evolving. This is an aesthetic approach
which, depending on its different forms, draws on
ecological knowledge, imagination, emotion, and a fresh
understanding of nature as embodying its own narrative.
[7]Joan Iverson Nassauer, “Cultural Sustainability:
Aligning Aesthetics and Ecology,” in Placing Nature:
Culture and Landscape Ecology, edited by J. I. Nassauer
(Washington DC: Island Press, 1997).
[8] Catherine Chomarat-Ruiz, "Une science du paysage
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favoriserait-elle la rencontre entre artistes et politiques?,"
Actes du colloque ‘Paysage et politique, le regard de
l’artiste' (Rennes: Presses universitaires de Rennes,
2009).
[9]Nathalie Blanc, Vers une esthétique environnementale
(Versailles: Editions Quae, Collection Indisciplines,
2007). Nouvelles esthétiques urbaines (Paris: Armand
Colin, 2012).
[10] Yuriko Saito, Everyday Aesthetics (New York:
Oxford University Press, 2007).
[11]Allen Carlson, Nature and Landscape, An
introduction to Environmental Aesthetics (New York:
Columbia University Press, 2008).
[12]Arnold Berleant, The Aesthetics of Environment
(Philadelphia: Temple University Press, 1992).
Sensibility and Sense, The Aesthetic Transformation of
the Human World (Exeter: Imprint Academic, 2010).
[13]Emily Brady, Aesthetics of the Natural Environment
(Edinburgh: Edinburgh University Press, 2003).
[14]Yrjö Sepänmaa, The Beauty of Environment, A
General Model for Environmental Aesthetics (Denton:
Environmental Ethics Books, 1993). “Applied
Aesthetics, in Art and beyond,” in Finnish Approaches
to Aesthetics, edited by Ossi Naukkarinen and Olli
Immonen (Jyväskylä: International Institute of Applied
Aesthetics and the Finnish Society for Aesthetics, 1995).
[15]Elisabeth Schellekens, Aesthetics and Morality
(London and New York: Continuum, 2007).
[16] Jacques Rancière, Malaise dans l’esthétique (Paris:
Galilée, 2004). Le partage du sensible, esthétique et
politique (Paris: La fabrique éditions, 2000).
[17] Alfred Gell, Art and agency. An anthropological
theory (Oxford: Clarendon Press, 1998).
[18] There are only three species in France: Blatta
orientalis L., Blattella germanica (L.) and Supella
longipalpa (F.) which are unique in their development
cycles, biology and ecology. Our research focused only
on Blattella germanica, which is a small (12-15mm at the
adult stage), light brown species with two longitudinal
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black stripes. This species is, by far, the most common.
[19] Nathalie Blanc, “Cockroaches, or Worlds as
Images”, Contemporary Aesthetics, volume 5, (2007).
http://www.contempaesthetics.org/newvolume/pages
/journal.php.
[20]Mark Whitehead, "The wood for the trees: ordinary
environmental injustice and the everyday right to urban
nature," International Journal Of Urban And Regional
Research, 33, 3 (2009), 662-681.
[21] Michel De Certeau, L'invention du quotidien: arts
de faire (Paris: Folio essais, 1990). Girard Luce, Mayol
Pierre, L'invention du quotidien: habiter, cuisiner (Paris:
Folio essais, 1994).
[22] Nathalie Blanc, Carole Waldwogel, Sandrine
Glatron, "Le développement urbain durable au prisme
des politiques urbaines de prévention de la pollution
atmosphérique: quelle place pour le citoyen
aujourd’hui?," in: Pinson G., Béal V., Gauthier M., Le
développement durable changera-t-il la ville? Le regard
des sciences sociales (Saint-Etienne: Presses
universitaires de Saint-Etienne, collection Dynamiques
Métropolitaines, 2011), p. 299-315.
[23] Françoise Paul-Levy, Marion Segaud,
Anthropologie de l'espace (Paris: Alors, CCI, centre
Pompidou, 1983).
[24] http://www.parti-poetique.org/,visited on 20 August
2010, translated here.
[25] Jacques Rancière, Le partage du sensible.
Esthétique et politique (Paris: Fabrique, 2000).
[26] Ilaria Bonacossa, Latitudes (dir.), Greenwashing
Environment: Perils, Promises and Perplexities, (Turin,
Fondazione Sandretto/The Bookmakers, 2008), p. 26.
[27] John Dewey, L’art comme expérience (Pau:
Publications de l’université de Pau / Farrago, 2005).
[28] Nathalie Blanc, Sophie Bonin, (Eds.), Grands
barrages et habitants (Paris: Editions QUAE, coll.
Natures sociales, 2008).
[29]Edward Bond « L’imagination, entre le gouffre et le
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salut », propos recueillis par Mona Chollet et Luz,
version longue d’un entretien paru dans Charlie Hebdo
du 31 mai 2000, http://www.peripheries.net
/article189.html consulté le 20/07/2010.
[30] Joseph Beuys, Par la présente, je n’appartiens plus
à l’art (Paris: L’Arche, 1988).
[31] Jonathan Bate, The song of the Earth (Cambridge:
Harvard University Press, 2000) p. 200.
[32] Ibid., p. 76.
[33] Alfred N. Whitehead, Process and reality
(New-York: The Free Press, 1978).
[34] Paul Bréchon, Olivier Galland, L'individualisation
des valeurs (Paris: Armand Colin, Collection Sociétales,
2010).
[35] Sandra Laugier, Une autre pensée politique
américaine: La démocratie radicale d'Emerson à Stanley
Cavell (Paris: Michel Houdiard ed. coll. Horizons
américains, 2004).
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