Since the eighteenth century, the study of plants has reflected an increasingly mechanized and technological view of the natural world that divides the humanities and the natual sciences. In broad terms, this article proposes a context for research into flora through an interrogation of existing literature addressing a rapprochement between ways to knowledge. The natureculture dichotomy, and more specifically the plant-to-human sensory disjunction, follows a parallel course of resolution to the schism between objective and subjective forms of knowledge. The foundations (...) of taxonomic botany, as well as the allied fields of environmental studies, ethnobotany and economic botany, are undergirded by universalizing, sensorylimited visual structuring of the natural world. As the study of everyday embodied interactions of humans with flora, expanding upon the lens of cultural ecology, "cultural botany" provides a transdisciplinary research approach. Alternate embodied cultural engagements with flora emerge through a syncretic fusion of diverse methodologies. (shrink)

The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

Since European settlement, the Western calendar has insufficiently accounted for the seasonal nuances and multiple temporalities of Australia. Beginning with Tim Entwistle’s recent proposal to revise the four-season Australian norm, this article traces the emergence of the Western calendar in Europe and its institutionalization ‘Down Under.’ With its emphasis on land-based calendars, the Indigenous Weather Knowledge Project is a partnership between Aboriginal communities and the Bureau of Meteorology aimed at preserving and promoting knowledge of the endemic seasons of Australian regions. (...) As themost recent addition to the IWKP, the six-season Nyoongar calendar of the South-West of Western Australia is based on meteorological conditions, such as wind directions and temperatures, but also on the procurement of food, maintenance of cultural knowledge, and performance of ceremonies. Through the fusion of phenomenological and phenological approaches, the endemic seasons of Australia can be appreciated in their depth and extent. (shrink)

In an era of climate change, deforestation, melting ice caps, poisoned environments, and species loss, many people are turning to the power of the arts and humanities for sustainable solutions to global ecological problems. Introduction to the Environmental Humanities offers a practical and accessible guide to this dynamic and interdisciplinary field. This book provides an overview of the Environmental Humanities' evolution from the activist movements of the early and mid-twentieth century to more recent debates over climate change, sustainability, energy policy, (...) and habitat degradation in the Anthropocene era. The text introduces readers to seminal writings, artworks, campaigns, and movements while demystifying important terms such as the Anthropocene, environmental justice, nature, ecosystem, ecology, posthuman, and non-human. Emerging theoretical areas such as critical animal and plant studies, gender and queer studies, Indigenous studies, and energy studies are also presented. Organized by discipline, the book explores the role that the arts and humanities play in the future of the planet. Including case studies, discussion questions, annotated bibliographies, and links to online resources, this book offers a comprehensive and engaging overview of the Environmental Humanities for introductory readers. For more advanced readers, it serves as a foundation for future study, projects, or professional development. (shrink)

How does anthoethnography contribute to the development of understandings of aesthetic experiences of wild plants and wildflower tourism? As exemplified by the quintessentially aesthetic industry of wildflower tourism, the culture of flora represents diverse engagements between people and plants. Such complex engagements offer further avenues for research. The critical methodology of anthoethnography has been one such approach to circumscribing the values, practices and rhetoric of wildflower tourism. Interviews have revealed perceptual phenomena such as the orchid and everlasting effects as two (...) counterpoised examples of the differences between visual aesthetic values occurring in the region. For appreciators such as Tinker, botanical science substantiates visual experience by showing the functional role of plants within habitats. However, the taxonomic eye is not the only judge of the value and significance of flowering plants. As underscored by Nannup, Aboriginal perspectives offer complex cultural modes of engagement and rich directions for wildflower tourism based in bodily experience. An anthoethnographic approach produces accounts of the spectrum of human perceptions of wildflowers in order to proffer potential directions for wildflower tourism of the future. Through a participatory aesthetics of flora in contemporary Australian landscapes, appreciative interactions with plants will occur not only through visual values, but also through the smell, taste, sound, or feel of plants and how one moves through communities of flora. Scientific knowledge can amplify visual and embodied modes. However, as an anthoethnographic lens has shown, wildflower tourism in the Southwest is weighted towards visual experience. Indeed, the history and contemporary practices of wildflower tourism encode ocular values that can posit a separation between post‐colonial cultures and native flora. A promising direction is towards participatory relationships beyond the aestheticisation of the surface qualities of flora and beyond the ‘conquest of the world as picture’. In an era of rapid species loss, wildflower tourism will increasingly embrace concepts of conservation, Aboriginal knowledges and the recognition of spiritual heritages, and the appreciation of plants beyond their visual impact. The expression of human sensory capacities for plants joined to an ethos of botanical conservation, drawing from scientific thought, can better ensure the longevity of flowers through the evolution of the culture of flora in the region. (shrink)

_Forest Family_ highlights the importance of old-growth forests to Australian art, community, culture, history, and politics. The volume will be of interest to general readers of environmental history, as well as scholars in critical plant studies and the environmental humanities.

The narratives of plants offered by science, history, poetry, mythology and direct personal experience are often thought to contradict one another and are thus held as separate. Like leaves of a tree, however, the posthumous botanical works of nineteenth-century American naturalist and philosopher Henry David Thoreau gather together the diverse stories that give meaning to plants. Drawing from the concept of multiple narrative streams as a method of writing natural history inspired by Thoreau, this article explores many accounts of the (...) flora of the biodiverse Southwest corner of Western Australia. Botanical science, Aboriginal spirituality, nature poetry and colonial histories offer versions that explain the natural histories of Southwest plants using different, though complementary, perspectives. The meandering together of narrative streams ensures the perpetuity of non-scientific stories and the potential for cross-pollination between disciplines and diverse ways of knowing the natural world. (shrink)

In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital artworks for the future benefit of culture, with particular peference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, and philosophers involved (...) in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape—marked by the centrality of digital technologies to everyday life—problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger. (shrink)