Sunday, February 15, 2009

biophilia; the plants, the animals and me.

The first article by J. Malcolm Shick "Toward an Aesthetic Marine Biology", delves into the intertwined history of Artists and Naturalists that looked to the sea to explore the new theories of evolution and species that proved it and how rendering these species created new problems and ways of seeing. Of particular interest to me was the part about aquariums and how they spurred interest by artists and in turn art and literature. In particular, Jules Verne's 20,000 Leagues Under the Sea.




The movie of Verne's novel along with the large aquarium that was in the living room during my childhood, allowed me to fantasize about a world that was so far away from the landlocked state of Missouri. On occasion, my family and I would visit The Fin Inn along the Mississippi in Alton, IL where they had huge aquariums of massive fish including tortoises that lived in the river.

The aquarium is fascinating in how it lets you view (in a somewhat unnatural way) the fish. It magnifies but flattens space. It's clear but condensed. It is living (algae and fish) but has fake elements of life (the plants). And the thing that keeps the algae and micro-organisms from taking over the whole tank is a machine that continually cleans the water through filtration. Occasionally, the fish die and a brief bathroom ceremony is held, but besides that and the short human intervention of feeding fish flakes, aquariums take on a life of their own.

map #1

map #2

my map of the artists and scientists and their work in Shick's article

Until thoroughly reading Shick's article, I think I have equated aquariums to an extension of science and never really thought of them as functioning in a way that creates art. But in discussing its history, Shick was able to convince me that "under-seascapes" are as much a part of the art world as they are the science world. In particular, the example of Matisse in Tahiti and how "the undersea light in the clear water was like 'a second sky' and by diving repeatedly.... taught himself to distinguish the quality of light in the two media."

In the last paragraph of the article Shick quotes Elaine Strosberg; "The teaching of science is not expected to emphasize aesthetic aspects... The arts and the sciences may increasingly have different homes and cultures, but they do not occur and must not be considered in isolation." I think this is the closest summary of my own thinking. There have been many times in making my own art that I come across a question that doesn't involve art at all but more often science and the question why? Art allows me to create and explore the question, but it doesn't necessarily give me an answer. Science ultimately, should be able to give an answer. It's almost as if for both to work as effectively as they should, they have to lean on each other to motivate and inspire. Which leads me to the next article...

Biophilia and the Conservation Ethic by Edward O. Wilson is a didactic article that at times left me feeling inspired and at other times, well, I really disagreed with it. One point in particular that I really disagreed with was about space exploration. Wilson states "'Biodiversity is the frontier of the future.' Humanity needs a vision of an expanding and unending future. This spiritual craving cannot be satisfied by the colonization of space. The other planets are inhospitable and immensely expensive to reach... The true frontier for humanity is life on earth,"

A little later in the article Wilson states how the loss of biodiversity is the most harmful part of the ongoing environmental despoliation and that "to the extent it is diminished, humanity will be poorer for all generations to come." Then he gives estimates about how much poorer we will all be because of the rapidly increasing rate at which the earth looses its species.

While I agree with the basic premise of Wilson's definition and application of biophilia, I can't help but totally disagree with the pessimistic and negative attitude that he has towards humans and how we're totally destroying the planet in a way that can never be reattained. I think this type of thinking is actually a little dated. Since the discovery of global warming and the activation of thinking about how to reverse it, I think humans for the most part are on the right track to overcoming a large part of the problems started by industrialization and a lack of forethought about the environment.

Though the problem about loosing species and biodiversity is troubling to me, I'm more inclined to think that this loss is in some ways natural and we should only do so much to slow it down or stop it. Did Wilson ever stop to think that maybe the extinction of some species might be more beneficial to preserving parts of nature that are sustainable and that maybe this is actually a part of evolution that has to take place? I mean lets be reasonable, the loss of species by man is detrimental and troubling, but the loss of species that never stood a chance of being saved because we had no knowledge of them ever existing- how are we supposed to overcome that or even gain some sort of control over that?

I'm not going to vent all my frustration out on this blog about what Wilson argued about space exploration- but I will vent a little.

He says biodiversity is the frontier of the future and humanity needs a vision of an expanding and unending future. Well, that is exactly what exploring space will answer. The beginning of time is literally somewhere in space waiting to be found. Somewhere in the middle of the universe, maybe a supermassive black hole and on the outer edges, the very outer limits of where matter exists, this is is where these "spiritual" cravings will be answered. NOT merely on Earth alone will these answers be found.

Humanity is a blip on the map of time. To be so focused as to solely and only look at our relationship with the world would ignore millions of years of history that have told the story of evolution, survival and extinction. I'd like to think that we would be so creative as to find ways to explore Earth and space at the same time. There's no reason, technology, money, ingenuity, etc. that we should have to choose one over the other. I think, (just as Shick, uses Parrish at the end his article) that we can and should examine both areas simultaneously as to elevate the understanding of both fields.

that said...
MAKE YOUR OWN PILLARS OF CREATION!

This photo is quite remarkable in its complexities of scale. It was taken by the Hubble space telescope and is a glimpse into a vastness of space that dwarfs anything we can relate to except maybe our own solar system.

"This eerie, dark structure, resembling an imaginary sea serpent's head, is a column of cool molecular hydrogen gas (two atoms of hydrogen in each molecule) and dust that is an incubator for new stars. The stars are embedded inside finger-like protrusions extending from the top of the nebula. Each 'fingertip' is somewhat larger than our own solar system."  -from www.spacetelescope.org
photo by Jeff Hester and Paul Scowen (Arizona State University), and NASA/ESA

3 comments:

  1. I'm intrigued by your description of the column of hydrogen gas in the "pillars of creation" as resembling a sea serpent's head. How might you compare that observation to some of the readings for this week? Why the sea serpent analogy? Why the "pillars of creation" analogy, for that matter?

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  2. The names are actually taken from the Hubble telescope website which I linked to. However, I will extrapolate on how they could be linked to our readings...

    The sea serpent analogy fits well because not only is the nebula in the physical shape of a sea serpent but it could also be used as a metaphor as something we have very little knowledge of.

    The "pillars of creation" analogy fits in the same manner. The nebula is so vast, that to look at them is to actually look back through time as they are tens of thousands if not millions of light years away. What we are actually seeing might be from around the time that the earth, or perhaps our solar system was in its infancy.

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  3. Building off your idea that sea serpents are something about which we have very little knowledge, I think it is very important that the "nature metaphor" used to describe these far away astronomical phenomena derives from the literature of sea-faring and the idea of sea serpents at the edge of the world, etc... I think it draws an interesting analogy between how we saw the unknown back in the 15th-16th centuries and how we view it similarly today, by making reference to the same metaphors of the monstrous (which basically means "unnatural" in the sense that it is not part of familiar experience of nature). On monstrosities check out Stephen Asma, a Columbia prof who writes on the history of monsters.

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