Fig 3 - uploaded by Cathy Fitzgerald
Content may be subject to copyright.
Image from Insa Winkler's video essay Eichelschwein (The Acorn Pig), 2006: 15 min.

Image from Insa Winkler's video essay Eichelschwein (The Acorn Pig), 2006: 15 min.

Source publication
Full-text available
Eco-social art practitioners routinely foster cycles of multi-constituent translation, reflection and action, across lifeworlds, art, science, and other socio-political domains to progress new life-sustaining knowledge. This enquiry, however, reveals the absence of a guiding theory and a clearly articulated methodology for such transversal practice...

Contexts in source publication

Context 1
... can't short-circuit the process. We're too quick these days to want to fix things. But some things can't be rushed. Hollywood Forest Story eBook p. 39; Fig. 30 below) and the developing agency for my followers and me to rethink forestry. promote an ecological age is impossible to predict, although analyses by Rifkin (2009)) and others (whom I discuss later in this Chapter) are ...
Context 2
... realities of the present include unequal global access and the questionable long-term sustainability of the Internet given its demanding energy requirements (see Hollywood eBook Appendix p. 94). Paradoxically, social media are also used to raise awareness of these ethical dilemmas. The Enough Project shares videos (Fig. 33) and articles on the immense conflicts and the externalised eco-social costs that support such celebrated Information Age technologies. claiming through the independent Conflict-Free Sourcing Program that they are leading in the complex work to create a conflict-free supply chain in the Congo ( Wakabayashi, 2015). (2013) highlights the ...
Context 3
... crucial benefit of action research, over and above its ubiquity, is that as a methodological template (Reason et al. 2009, p. 9), it helps define the five critical dimensions of participatory social enquiry (Fig. 38) as those ...
Context 4
... theory of machinic animism theories drew directly on leading artists, architects and new media specialists', including that of Min Tanaka (Fig. 43), the Japanese animist Butoh 130 This theory usefully clarifies my and others' eco-social art practices as assemblages of nonhuman social media components (a blog) and nonhuman communities (a forest in my case), that can foster ecoliteracy and an appetite for political agency for their audiences, through the use of social ...


... Cathy Fitzgerald has since 2008 been working on The Hollywood Forest Story, located in Co Carlow, Eire. She has used the ecosophy of Guattari to provide a theoretical frame for what she describes as her eco-social art practice (Fitzgerald, 2018). On the ground she has been working with communities, experts and with the small monocultural conifer plantation where she lives to co-create a flourishing and permanent, mixed-species forest. ...
Full-text available
Educational theorist Gert Biesta proposes that we need to be “in the world without occupying the centre of the world.” (Biesta, 2017, p. 3). This injunction provides a frame with which to interrogate the hybrid practice of ecoart. This practice can be characterised by a concern for the relations of living things to each other, and to their environments. Learning in order to be able to act is critical. One aspect is collaboration with experts (whether those are scientists and environmental managers or inhabitants, including more-than-human). Another is building ‘commons’ and shared understanding being more important than novelty. Grant Kester has argued that there is an underlying paradigm shift in ‘aesthetic autonomy’, underpinned by a ‘trans-disciplinary interest in collective knowledge production’. (2013, np). This goes beyond questions of interdisciplinarity and its variations to raise more fundamental questions of agency. Drawing on the work of key practitioner/researchers (Jackie Brookner (1945-2015); Collins and Goto Studio, Helen Mayer Harrison (1927-2018) and Newton Harrison (b 1932)) and theorists (Bishop, Kester, Kagan) the meaning and implications of not ‘occupying the centre of the world’ will be explored as a motif for an art which can act in public space.