The Ecocentric and Anthropocentric Attitudes toward the Sustainable Development (EAATSD) scale measures environmental concern in relation to sustainable development. This article will discuss how this scale was tested with three groups of Dutch higher education students. Findings demonstrate that anthropocentric and ecocentric values are independent of the students’ chosen course of study, suggesting that students attracted by the ‘sustainable development’ course title do not necessarily associate ‘sustainability’ with ecocentric aims. This article discusses why ecocentric values are beneficial to the objective of a sustainable society and proposes ways forward in which these values can be enhanced in learners. https://doi.org/10.3390/educsci7030069 https://www.linkedin.com/in/helenkopnina/
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The divide between us and the rest of nature has been attributed to various rootcauses: the growing disenchantment of the world, the loss of direct experience andlately the replacement of the real with simulations of it. Modernity's move away fromthe natural world has also generated countervailing movements, beginning with theRomantics and leading up to the manifold forms of environmental education in ourtimes. When we seek to reconnect to the natural world through an open-ended artistic process, what happens? In this thesis, Jan van Boeckel explores the kind of learning that takes place through arts-based environmental education.
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This chapter addresses environmental education as an important subject of anthropological inquiry and demonstrates how ethnographic research can contribute to our understanding of environmental learning both in formal and informal settings. Anthropology of environmental education is rich in ethnographies of indigenous knowledge of plants and animals, as well as emotional and religious engagement with nature passed on through generations. Aside from these ethnographies of informal environmental education, anthropological studies can offer a critical reflection on the formal practice of education, especially as it is linked to development in non-Western countries. Ethnographic and critical studies of environmental education will be discussed as one of the most challenging directions of environmental anthropology of the future. This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in "Environmental Anthropology: Future Directions" on 7/18/13 available online: https://doi.org/10.4324/9780203403341 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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Based on his personal experience, the author aims to examine some of the key competencies that he considers essential for facilitators of group activities in arts-based environmental education (AEE). In this, participants are encouraged to enhance their sensibility to the environment through artistic approaches. A case in point is a workshop called “making a little me”. Its participants sculpt – while keeping their eyes closed – a clay version of their own seated body in miniature. When guiding such a workshop, it is of critical importance, according to the author, to encourage the participants to suspend their judgments on the art works of others. The facilitator should make every effort to provide a safe environment by practicing “holding space”.
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In this article, we elaborate on the role of dialogical learning in identity formation in the context of environmental education. First, we distinguish this kind of learning from conditioning and reproductive learning. We also show that identity learning is not self-evident and we point out the role of emotions. Using Dialogical Self Theory, we then suggest that individuals do not have an “identity hierarchy” but a dialogical self that attaches meaning to experiences in both conscious and unconscious ways. We describe the learning process that enables the dialogical self to develop itself, and we elaborate on the characteristics of a good dialogue. We conclude with some remarks expanding room for a dialogue that would foster identity learning. https://doi.org/10.3390/resources5010011 https://www.linkedin.com/in/helenkopnina/
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For environmental governance to be more effective and transformative, it needs to enhance the presence of experimental and innovative approaches for participation. This enhancement requires a transformation of environmental governance, as too often the (public) participation process is set up as a formal obligation in the development of a proposed intervention. This article, in search of alternatives, and in support of this transformation elaborates on spaces where participatory and deliberative governance processes have been deployed. Experiences with two mediated participation methodologies – community art and visual problem appraisal – allow a demonstration of their potential, relevance and attractiveness. Additionally, the article analyzes the challenges that result from the nature of these arts-based methodologies, from the confrontational aspects of voices overlooked in conventional approaches, and from the need to rethink professionals’ competences. Considering current environmental urgencies, mediated participation and social imaginaries still demonstrate capacities to open new avenues for action and reflection.
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Ecocentrism has roots in environmental philosophy, which questions the conceptual dichotomy between humans and the environment, acknowledging nonhuman species' right to flourish independently of human interest (Naess 1973). Generally, ecocentrism refers to a planet- and nature-centered as opposed to the human-centered (anthropocentric) system of values. Inspired by this philosophy, ecocentric education focuses on intrinsic values of the ecosystem, environment, and individual living beings and habitats in environmental education (EE) and education for sustainable development (ESD). https://rd.springer.com/referencework/10.1007/978-3-319-63951-2 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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Environmental or ‘green' education is an important driving force behind the ‘greening' of society as it plays a critical role in raising environmental awareness and preparing students for green jobs. None of the existing environmental attitudes and behavior measures is focused on the evaluation of green education, especially in relation to consumption. To date, no longitudinal studies of children and students' attitudes towards consumption influenced by education exist. Also, little has been done to explore the socio-cultural context in which attitudes toward consumption are being formed and to explain the cross-cultural differences in environmental attitudes. This pilot study is designed to take the first step towards developing methods complementing existing quantitative measurements with qualitative strategies, such as consumption diaries, focus groups, and concept mapping. While this research is just a first attempt to tackle children's knowledge and attitudes consumption, preliminary results of the research on which this chapter is based and enthusiasm of the research participants encourage the author to stress the importance of consumption studies as part of green education for educational program developers. As a chapter of this volume, the author hopes that this study will add to the anthropological depository of research on the cultural variants in the perception of the environment in children. This chapter draws upon the consumption diaries collected from the upper-elementary school children in Amsterdam, The Netherlands, between September 2009 and May 2010. Consumption diaries are chronological documents recording purchase, use, and waste of materials, which can be used both as analytical tools and the means to stimulate environmental awareness. The four main methodological steps involved in this research were as follows. Children were asked to complete the consumption diary, paying specific attention to use and waste materials. Consequently, focus group meetings were held with parents and their children to discuss the diaries. Finally, interviews with the children were conducted in order to generate statements that supplement those generated by focus groups for carrying out the concept mapping analysis. The concept mapping analysis was then conducted to organize the order and analyze the ideas expressed in the focus group and interview sessions. This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in "Environmental Anthropology Today" on 8/5/11 available online: https://doi.org/10.4324/9780203806906 LinkedIn: https://www.linkedin.com/in/helenkopnina/
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The phenomena of urbanization and climate change interact with the growing number of older people living in cities. One of the effects of climate change is an increased riverine flooding hazard, and when floods occur this has a severe impact on human lives and comes with vast economic losses. Flood resilience management procedures should be supported by a combination of complex social and environmental vulnerability assessments. Therefore, new methodologies and tools should be developed for this purpose. One way to achieve such inclusive procedures is by incorporating a social vulnerability evaluation methodology for environmental and flood resilience assessment. These are illustrated for application in the Polish city of Wrocław. Socio-environmental vulnerability mapping, based on spatial analyses using the poverty risk index, data on the ageing population, as well as the distribution of the areas vulnerable to floods, was conducted with use of a location intelligence system combining Geographic Information System (GIS) and Business Intelligence (BI) tools. The new methodology allows for the identification of areas populated by social groups that are particularly vulnerable to the negative effects of flooding. C 2018 SETAC Original Publication: Integr Environ Assess Manag 2018;14:592–597. DOI: https://doi.org/10.1002/ieam.4077
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This article focuses on the role of the artistic process in connecting to the natural environment. In my research I have explored what participants experience and learn when they engage in different types of arts-based environmental education (AEE) practices that I have facilitated. The premise of AEE is that efforts to learn about our (natural) environment can effectively take their starting point in an artistic activity, usually conducted in groups. I found that, on the whole, two major orientations can be distinguished. One starts from the point of aesthetic sensibility: the tuning in with the senses, or with ‘a new organ of perception’ (Goethe), in order to perceive ‘the more than human’ with fresh new eyes. This tradition can be traced back (but is by no means limited) to the Romantic Movement. Art in this context may help to amplify the receptivity of the senses and strengthen a sense of connectedness to the natural world. The other major orientation in seeking bridges between nature and art builds on a view of artistic process as leading to unexpected outcomes and ‘emergent properties’. The fundamentally singular experience of making a work of art may evoke an aesthetic object that becomes a ‘self-sufficient, spiritually breathing subject’ (Kandinsky). The artwork can be spontaneously generative and multilayered with meanings, some of which may even be ambiguous and paradoxical. But perhaps more importantly: it can catch the participant of an AEE activity by surprise, overwhelm him or her as ‘coming from behind one’s back’. The element of improvisation, of taking in the new and unanticipated and accommodating for it, is the core quality here. These two orientations, when practiced as part of AEE, have implications on how we relate to nature through art. In the closing of this article I address the question of whether it is possible to bridge the dualism between the two orientations.
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