Justice for nature remains a confused term. In recent decades justice has predominantly been limited to humanity, with a strong focus on social justice, and its spin-off – environmental justice for people. We first examine the formal rationale for ecocentrism and ecological ethics, as this underpins attitudes towards justice for nature, and show how justice for nature has been affected by concerns about dualisms and by strong anthro-pocentric bias. We next consider the traditional meaning of social justice, alongside the recent move by some scholars to push justice for nature into social justice, effectively weakening any move to place ecojustice centre-stage. This, we argue, is both unethical and doomed to failure as a strategy to protect life on Earth. The dominant meaning of ‘environmental justice’ – in essence, justice for humans in regard to environmental issues – is also explored. We next discuss what ecological justice (ecojustice) is, and how academia has ignored it for many decades. The charge of ecojustice being ‘antihuman’ is refuted. We argue that distributive justice can also apply to nature, including an ethic of bio-proportionality, and also consider how to reconcile social justice and eco-justice, arguing that ecojustice must now be foregrounded to ensure effective conservation. After suggesting a ‘Framework for implementing ecojustice’ for conservation practitioners, we conclude by urging academia to foreground ecojustice. https://doi.org/10.1016/j.biocon.2018.09.011 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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When reading literary narratives, we assume that readers can get absorbed in the story world and in the story's artifice. Since most absorption research focuses primarily on popular media, virtually no attention has been paid to the possibility that literary devices such as deviation could elicit absorption experiences or that absorption could be aesthetic in nature. This chapter takes an interdisciplinary approach combining insights from media psychology, literary studies, and aesthetics to present a theoretical framework for two different varieties of narrative aesthetic absorption during reading: story world absorption and artifact absorption. We propose that these varieties mirror the distinction made by narratologists between story and discourse and the distinction made by emotion psychologists between F and A emotions.
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from the article: ABSTRACT Participatory Design has developed methods that empower people with impairments to actively take part in the design process. Many designed artifacts for this target group likewise aim to empower their users in daily life. In this workshop, we share and relate best practices of both empowering methods and empowering designs. Participants are therefore invited to bring along cases of designing for- and with people with sensory-, cognitive- or social impairments. Our workshop consists of three parts: (1) Foregrounding empowering elements in PD methods using method stories, containing the backstory of a method put into practice; (2) Reflecting on technological artifacts, exploring the empowering qualities of person-artifact-context interaction; (3) constructing a critical synopsis of the various relationships between empowering products and -methods. http://dx.doi.org/10.1145/2948076.2948101
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Visual research has historically been productive in foregrounding marginalised voices through photovoice as alternative to the written and oral forms of participation that dominate public participation. Photovoice projects have however been slow to leverage digital and spatial technologies for reworking the method in ways that enable geospatial analysis and collect structured metadata that can be used in workshops to bring different groups together around unpacking urban problems. The Urban Belonging project contributes to this by testing a new application, UB App, in an empirical study of how participants from seven marginalised communities in Copenhagen experience the city, including ethnic minorities, deaf, homeless, physically disabled, mentally vulnerable, LGBTQ+, and expats in Denmark. From a dataset of 1459 geolocated photos, co-interpreted by participants, the project first unpacks community-specific patterns in how the city creates experiences of belonging for different groups. Second, it examines how participants experience places differently, producing multilayered representations of conflicting viewpoints on belonging. The project hereby brings GIS and digital methods capabilities into photovoice and opens new epistemological flexibilities in the method, making it possible to move between; qualitative and quantitative analysis; bottom-up and top-down lenses on data; and demographic and post-demographic ways or organising participation.
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This article examines how artistic research practices challenge and reconfigure institutional approaches toresearch ethics. Focusing on the case of Performing Working —a doctoral project in the arts that was the first toundergo ethical review at the University of the Arts Utrecht —it investigates how forms of consent, researcherroles, and institutional responsibility are negotiated when research is processual, embodied, and collaborativelydeveloped.The article draws on a collaborative autoethnographic reflection involving the artist-researcher, a researchparticipant, and members of the ethics committee. Care ethics is used as a conceptual lens to analyse the ethicaldimensions of the case, foregrounding relationality, vulnerability, and attention to power. Rather than treatingethical approval as a one-off procedural hurdle, the analysis highlights ethics as an ongoing, situated practicethat unfolds through dialogue, friction, and mutual attunement.Artistic research is presented here as a ‘hard case’ that reveals structural frictions in existing review systems.At the same time, it offers alternative imaginaries and practices for dealing with complexity, uncertainty, and co-responsibility in research. While grounded in an artistic context, the article speaks to broader concerns inqualitative research methodology, particularly in fields that engage with lived experience, reflexivity, and sharedauthority. Ethics is reframed not merely as compliance, but as integral to how research is shaped, shared, andheld accountable across diverse domains.
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Isabel Löfgren takes us to the Stockholm high-rise suburbs to show us how art projects and transnational media intermingle with the multicultural urban reality. In this book, she discusses the architecture of her project Satellitstaden, where her artistic interventions with the satellite dishes on façades highlight the voices of its inhabitants through participatory and co-generative artistic processes. In these peripheries, satellite subjects emerge, orbiting around multiple identifications, foregrounding the notion of spatial justice, the subaltern and the importance of grassroots movements.The book outlines a philosophy of hospitality in response to the turn in Europe against refugees, which Löfgren considers to be a crisis of hospitality, not a crisis of migration. Löfgren discusses the ethics that govern the relationship between guest and host, the self and Other. Who has the right to belong? On what terms? She argues for a hospitable turn in art, urban planning and media, in which guest-host relationships are performed, mediated and problematized.We urgently need to re-imagine the ethics of hospitality and habitability for the near future. The 2020 pandemic forces us to reassess our philosophy and practice of human contact, re-engineering how we relate to the Other, and what hospitality means in the face of a global halt.Isabel Löfgren is a Swedish-Brazilian artist, researcher and educator based in Stockholm and Rio de Janeiro. She is currently working at the Media and Communication Studies Department at Södertörn University in Sweden, next to her artistic practice. Her research interests include cultural politics, aesthetics, and the philosophy of diaspora in the fields of contemporary art, media philosophy, and media activism.
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Recently several attempts were undertaken to unite the field of metaphor studies, trying to reconcile the conceptual/cognition and linguistic/discourse approaches to metaphor (Hampe, 2017b). The dynamic view of metaphor espoused by amongst others Gibbs (2017a) as a way to unify the field of metaphor studies is said to converge on findings and theoretical predictions found in cognition and discourse approaches. The author argues this focus on dynamical models to explain the multi-scale socio-cognitive aspects of metaphor as an emergent phenomenon is not robust enough. Complexity and dynamical systems are merely a modelling technique to deploy theory for empirical testing of hypotheses; a dynamic view of metaphor needs a coherent background theory to base its dynamic modelling of metaphor in action on (Chemero, 2009). I argue that it can be successfully based on the ecological-enactive framework available within the modern paradigm of 4E cognitive science. This framework makes possible explanation of both 'lower' cognition and 'higher' cognition emerging in the interaction of an organism with its environment. In addition, I sketch how recent theoretical insights from ecological-enactivism (Baggs and Chemero, 2018) concerning Gibson's notion of environment apply to the attempted unification of the field of metaphor studies. I close by suggesting how an understanding of metaphor as an ecological affordance of the socio-cultural environment can provide a rich basis for empirical hypotheses within a dynamical science of metaphor.
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This special issue of Somatechnics: Journal of Bodies – Technologies – Power is an invitation to critically interrogate how our everyday technological, social, and embodied experience of organisation as a traveling concept (Bal 2002) and socio-material (Orlikowski 2007) production of reality, can generate new modes of organising and being and nonbeing organised. The articles in this special issue span across the humanities, social sciences, performing arts, and critical management studies, to trouble the concept of organisation by de-organising it and the manner in which it has traditionally been instrumentalised and put to use in modern-day organisational theory and practice. Somatechnics presents a thoroughly multi-disciplinary scholarship on the body, providing a space for research that critically engages with the ethico-political implications of a wide range of practices and techniques. The term ‘somatechnics’ indicates an approach to corporeality which considers it as always already bound up with a variety of technologies, techniques and technics, thus enabling an examination of the lived experiences engendered within a given context, and the effects that technologies, technés and techniques have on embodiment, subjectivity and sociality.
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This article uses a study of the life-story narratives of former classmates of Dutch and Moluccan descent to argue that the constructionist approach to intersectionality, with its account of identity as a narrative construction rather than a practice of naming, offers better tools for answering questions concerning intersectional identity formation than a more systemic intersectional approach. The case study also highlights the importance of the quest for origins in narratives. It demonstrates that theories of intersectionality are not justified in subsuming the issue of belonging under the identity marker of ethnicity, when all identities are performatively produced in and through narrative enactments that include the precarious achievement of belonging. The case study demonstrates that if narrative accounts of a (singular or collective) life fail to achieve narrative closure regarding roots, attempts to trace routes are seriously hampered.
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