"A truely ecological reading practice would think the environment beyond rigid conceptual categories - it would include as much as possible of the radical openness of ecological thought. Ecocentrism has overlooked the way in which all art - not just explicitly ecological art - hardwires the environment into its form. Ecological art, and the ecoloogical-ness of all art, isn't just about something (trees, mountains, animals, pollution, and so forth). Ecological art is something, or maybe it does something. Art is ecological insofar as it is made frm materials and exists in the world. It exists, for instance, as a poem on a page made of paper from trees, which you hold in your hand while sitting in a chair in a certain room of a house that rests on a hill in the suburbs of a polluted city. But there is more to its ecological quality than that. The shape of the stanzas and the length of the lines determine the way you appreciate the blank paper around them. Reading the poem aloud makes you aware of the shape and size of space of the space around you (some forms, such as yodeling, do this deliberately). The poem organizes space. Seen like this, all texts - all artwork, indeed - have an irreducibly ecological form. Ecology permeates all forms. Nowadays we're used to wondering what a poem says about race or gender, even if the poem makes no explicit mention of race or gender. We will soon be accustomed to wondering what any text says about the environment even if no animals or trees or mountain appear in it."
Timothy Morton, The Ecological Thought, p.11 (Harvard university press, 2010)
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Thanks Sampson, I love this entry.
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