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Having set global warming in irreversible motion, we are facing the possibility of ecological catastrophe. But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. Global warming is perhaps the most dramatic example of what Timothy Morton calls hyperobjects--entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art.
Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place. Instead of inhabiting a world, we find ourselves inside a number of hyperobjects, such as climate, nuclear weapons, evolution, or relativity. Such objects put unbearable strains on our normal ways of reasoning.
Insisting that we have to reinvent how we think to even begin to comprehend the world we now live in, Hyperobjects takes the first steps, outlining a genuinely postmodern ecological approach to thought and action.
Hell on earth is real. The toxic fusion of big oil, Evangelical Christianity, and white supremacy has ignited a worldwide inferno, more phantasmagoric than anything William Blake could dream up and more cataclysmic than we can fathom. Escaping global warming hell, this revelatory book shows, requires a radical, mystical marriage of Christianity and biology that awakens a future beyond white male savagery.
Timothy Morton argues that there is an unexpected yet profound relationship between religion and ecology that can guide a planet-scale response to the climate crisis. Spiritual and mystical feelings have a deep resonance with ecological thinking, and together they provide the resources environmentalism desperately needs in this time of climate emergency. Morton finds solutions in a radical revaluation of Christianity, furnishing ecological politics with a language of mercy and forgiveness that draws from Christian traditions without bringing along their baggage. They call for a global environmental movement that fuses ecology and mysticism and puts race and gender front and center. This nonviolent resistance can stage an all-out assault on the ultimate Satanic mill: the concept of master and slave, manifesting today in white supremacy, patriarchy, and environmental destruction. Passionate, erudite, and playful, Hell takes readers on a full-color journey into the contemporary underworld--and offers a surprising vision of salvation.
Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Möbius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are.
The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse.
The time of hypersubjects is ending. Their desert-apocalypse-fire-and-death cults aren't going to save them this time. Meanwhile the time of hyposubjects is just beginning. This text is an exercise in chaotic and flimsy thinking that will possibly waste your time. But it is the sincere effort of two reform-minded hypersubjects to decenter themselves and to help nurture hyposubjective humanity. Here are some of the things we say in this book: 1) Hyposubjects are the native species of the Anthropocene and are only just now beginning to discover what they might be and become. 2) Like their hyperobjective environment, hyposubjects are also multiphasic and plural: not-yet, neither here nor there, less than the sum of their parts. They are, in other words, subscendent (moving toward relations) rather than transcendent (rising above relations). They do not pursue or pretend to absolute knowledge or language, let alone power. Instead they play; they care; they adapt; they hurt; they laugh. 3) Hyposubjects are necessarily feminist, colorful, queer, ecological, transhuman, and intrahuman. They do not recognize the rule of androleukoheteropetromodernity and the apex species behavior it epitomizes and reinforces. But they also hold the bliss-horror of extinction fantasies at bay, because hyposubjects' befores, nows, and afters are many. 4) Hyposubjects are squatters and bricoleuses. They inhabit the cracks and hollows. They turn things inside out and work miracles with scraps and remains. They unplug from carbon gridlife; they hack and redistribute its stored energies for their own purposes. 5) Hyposubjects make revolutions where technomodern radars can't glimpse them. They patiently ignore expert advice that they do not or cannot exist. They are skeptical of efforts to summarize them, including everything we have just said.
Science fiction is filled with spacecraft. On Earth, actual rockets explode over Texas while others make their way to Mars. But what are spacecraft, and just what can they teach us about imagination, ecology, democracy, and the nature of objects? Why do certain spacecraft stand out in popular culture?
If ever there were a spacecraft that could be detached from its context, sold as toys, turned into Disney rides, parodied, and flit around in everyone's head-the Millennium Falcon would be it. Springing from this infamous Star Wars vehicle, Spacecraft takes readers on an intergalactic journey through science fiction and speculative philosophy, revealing real-world political and ecological lessons along the way. In this book Timothy Morton shows how spacecraft are never mere flights of fancy.
In this passionate, lucid, and surprising book, Timothy Morton argues that all forms of life are connected in a vast, entangling mesh. This interconnectedness penetrates all dimensions of life. No being, construct, or object can exist independently from the ecological entanglement, Morton contends, nor does Nature exist as an entity separate from the uglier or more synthetic elements of life. Realizing this interconnectedness is what Morton calls the ecological thought.
In three concise chapters, Morton investigates the profound philosophical, political, and aesthetic implications of the fact that all life forms are interconnected. As a work of environmental philosophy and theory, The Ecological Thought explores an emerging awareness of ecological reality in an age of global warming. Using Darwin and contemporary discoveries in life sciences as root texts, Morton describes a mesh of deeply interconnected life forms--intimate, strange, and lacking fixed identity. A prequel to his Ecology without Nature: Rethinking Environmental Aesthetics (Harvard, 2007), The Ecological Thought is an engaged and accessible work that will challenge the thinking of readers in disciplines ranging from critical theory to Romanticism to cultural geography.
'An old teapot, used daily, can tell me more of my past than anything I recorded of it.' Sylvia Townsend Warner
There are many ways of telling the story of a life and how we've got to where we are. The questions of why and how we think the way we do continues to preoccupy philosophers. In The Stuff of Life, Timothy Morton chooses the objects that have shaped and punctuated their life to tell the story of who they are and why they might think the way they do. These objects are 'things' in the richest sense. They are beings, non-human beings, that have a presence and a force of their own. From the looming expanse of Battersea Power Station to a packet of anti-depressants and a cowboy suit, Morton explores why 'stuff' matters and the life of these things have so powerfully impinged upon their own. Their realization, through a concealer stick, that they identify as non-binary reveals the strange and wonderful ways that objects can form our worlds. Part memoir, part philosophical exploration of the meaning of a life lived alongside and through other things, Morton asks us to think about the stuff, things, objects and buildings that have formed our realities and who we are and might be.
Hell on earth is real. The toxic fusion of big oil, Evangelical Christianity, and white supremacy has ignited a worldwide inferno, more phantasmagoric than anything William Blake could dream up and more cataclysmic than we can fathom. Escaping global warming hell, this revelatory book shows, requires a radical, mystical marriage of Christianity and biology that awakens a future beyond white male savagery.
Timothy Morton argues that there is an unexpected yet profound relationship between religion and ecology that can guide a planet-scale response to the climate crisis. Spiritual and mystical feelings have a deep resonance with ecological thinking, and together they provide the resources environmentalism desperately needs in this time of climate emergency. Morton finds solutions in a radical revaluation of Christianity, furnishing ecological politics with a language of mercy and forgiveness that draws from Christian traditions without bringing along their baggage. They call for a global environmental movement that fuses ecology and mysticism and puts race and gender front and center. This nonviolent resistance can stage an all-out assault on the ultimate Satanic mill: the concept of master and slave, manifesting today in white supremacy, patriarchy, and environmental destruction. Passionate, erudite, and playful, Hell takes readers on a full-color journey into the contemporary underworld--and offers a surprising vision of salvation.
Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Möbius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are.
The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse.
En este libro, Timothy Morton explora lo que significa para las cosas advenir a la existencia,
persistir y dejar de existir. Tomando ejemplos de la f sica, la biolog a, la ecolog a, el arte, la literatura y la m sica, Morton expone el contraintuitivo, pero elegante, poder explicativo de la OOO para pensar c mo opera la causalidad.
Mary Shelley's Frankenstein is one of the most widely studied works of English literature, and Frankenstein's creature is a key figure in the popular imagination.
This sourcebook examines Mary Shelley's novel within its literary and cultural contexts, bringing together material on:
*the contexts from which Frankenstein emerged
*the novel's early reception
*adaptation and performance of the work (from theatre to pop music)
*recent criticism.
All documents are discussed and explained. The volume also includes offers carefully annotated key passages from the novel itself and concludes with a list of recommended editions and further reading, to allow readers to pursue their study in the areas that interest them most. This sourcebook provides an ideal orientation to the novel, its reception history and the critical material that surrounds it.
Dans cet ouvrage, Timothy Morton, écologiste de premier ordre, critique littéraire et philosophe orienté vers l'objet nous entraîne dans une nuit magique des objets. Si les choses sont intrinsèquement en retrait, irréductibles à leur perception, à leurs relations, ou à leurs usages, elles peuvent seulement s'affecter les unes les autres dans une étrange région de traces et d'empreintes la dimension esthétique. Tout objet scintille dans l'absence. Les choses sensibles sont des élégies à la disparition des objets. Est-ce cela ne nous dit pas quelque chose de la dimension esthétique, à savoir pourquoi les philosophes l'ont souvent considérée comme le royaume du mal?
In Ecology without Nature, Timothy Morton argues that the chief stumbling block to environmental thinking is the image of nature itself. Ecological writers propose a new worldview, but their very zeal to preserve the natural world leads them away from the nature they revere. The problem is a symptom of the ecological catastrophe in which we are living. Morton sets out a seeming paradox: to have a properly ecological view, we must relinquish the idea of nature once and for all.
Ecology without Nature investigates our ecological assumptions in a way that is provocative and deeply engaging. Ranging widely in eighteenth-century through contemporary philosophy, culture, and history, he explores the value of art in imagining environmental projects for the future. Morton develops a fresh vocabulary for reading environmentality in artistic form as well as content, and traces the contexts of ecological constructs through the history of capitalism. From John Clare to John Cage, from Kierkegaard to Kristeva, from The Lord of the Rings to electronic life forms, Ecology without Nature widens our view of ecological criticism, and deepens our understanding of ecology itself. Instead of trying to use an idea of nature to heal what society has damaged, Morton sets out a radical new form of ecological criticism: dark ecology.
'An old teapot, used daily, can tell me more of my past than anything I recorded of it.' Sylvia Townsend Warner
There are many ways of telling the story of a life and how we've got to where we are. The questions of why and how we think the way we do continues to preoccupy philosophers. In The Stuff of Life, Timothy Morton chooses the objects that have shaped and punctuated their life to tell the story of who they are and why they might think the way they do. These objects are 'things' in the richest sense. They are beings, non-human beings, that have a presence and a force of their own. From the looming expanse of Battersea Power Station to a packet of anti-depressants and a cowboy suit, Morton explores why 'stuff' matters and the life of these things have so powerfully impinged upon their own. Their realization, through a concealer stick, that they identify as non-binary reveals the strange and wonderful ways that objects can form our worlds. Part memoir, part philosophical exploration of the meaning of a life lived alongside and through other things, Morton asks us to think about the stuff, things, objects and buildings that have formed our realities and who we are and might be.