Visual
Ecology
Environmental Studies 144
Wednesdays, 1:15-4:00
Fletcher 106
The greatest
beauty is Organic wholeness,
the wholeness of life and things, the Divine beauty
of the universe. Love that,
not man Apart from that. Robertson Jeffers, The Answer |
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INTRODUCTION TO THE COURSE: PURPOSE AND CONTENT
As humans, our relationship with the world is deeply affected by the images we use to understand and express our place in nature. This course involves a critical investigation of how ecological issues and insights are communicated through graphic media. Explorations of prehistoric art, historic landscape painting, contemporary photography, wildlife art, nature documentaries, photojournalism, and other visual expressions will illuminate the philosophies and motivations of those who create and use these images. We analyze presentation techniques ranging from 'objective' documentation (e.g., National Geographic Magazine) to expressive interpretation (e.g., environmental sculpture and earthworks). Special consideration is given to how visual images are used to explain, explore, and manipulate. Central themes of the course, then, are the ecology of expressive culture and the politics of nature imagery. Final projects allow students to critically examine visual ecology as a tool, and to develop techniques of documenting, interpreting, and presenting the natural world.
The dimensions brought together in this course extend beyond technical aspects of making documentary images. They involve honing our research skills and focusing our observations, interpretations, and perceptions. After all, it is through perception--largely visual--that we respond to the world that surrounds us. Though stressing environmental imagery, this course is relevant to all the behavioral sciences where recording and interpreting visual messages are significant.
Visual imagery has long been used as a political tool to influence public opinion on issues of environmental degradation. This course, consequently, emphasizes the political uses of the camera, pen, or brush, and the philosophies and criteria guiding these uses. We define ‘visual ecology’, and explore and critique its uses.
COURSE REQUIREMENTS
This course combines lectures, discussions, viewings, and student presentations. The active participation of each student, therefore, is expected. Toward this end, students are responsible for reading the assigned material prior to class, and for formulating and presenting meaningful comments, queries, and insights based on this literature.
There is one in-class mid-term essay, which is broadly based and asks you to demonstrate your understanding of the course material and to present original insights. If our discussions go well, and if it is clear that students are keeping up with the readings, there will be no final exam. However, an in-depth concluding project and presentation is required of each student. Projects are individually designed by students, but in collaboration with me. The projects are paths designed to allow you to explore and develop an area of interest, be it landscape photography, experimental sculpture, or natural history illustration. Normally, they will combine artistic expression with scholarly research, and it is expected that they will be of substantial scope. Projects normally require both a final paper and the creation of a portfolio or installation.
Projects can be research oriented or they can be original documentary or artistic endeavors. I ask that each student schedule at least one meeting with me to discuss your project. The deadline for determining your project topic is November 1.
Student participation, intellectual acumen, artistic skill and creativity, exam results, and the final project determine semester evaluations.
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Required Texts: The Reenchantment of Art, Suzi Gablik. Sight and Sensibility, Laura Sewall Visual Ecology, Reading Packet
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 Ceanothus Silkmoth (Hyalophora euryalis) (Illustration by Susan Gee Rumsey) |
Schedule
DATE TOPIC READINGS
Aug. 30 Introduction to the course
The challenge of observation
Nature aesthetics
The nature of visual perception
The primacy of vision
Sept. 6 Visual geography & J. Rifkin, “Disconnecting the Senses,”
a short natural history of scenery; “Oral and Visual Cultures,” &
Palaeolithic arts as encounter w/Nature "The Age of Simulation"
P. Shepard, “Ugly is Better”
J. Charlot, “Hawaiians See a Place…”
J. Diamond, “Drowning Dogs…”
Sept. 13 Becoming the other J. Charlot, “The Hula in
Masks and transformations Hawaiian Life and Thought”
Aboriginal rock art Sight & Sensibility, Forward-p.19
Children's books J. & M. Argülles, Mandala, Chs. I, II, & III Contemporary Native American art
Sept. 20 Contemporary Aboriginal arts P. Faulstich, “Of Earth & Dreaming"
The politics of place Reenchantment, Ch. 1
The art of natural history W. Zinsser, "A Field Guide to Peterson"
Ecologists as art critics D. Quammen, “The Boilerplate Rhino”
Sept. 27 Landscape painting R. Nash, “The Am. Wilderness”
Wildlife painting Sight & Sensibility, Ch. 1
Purist landscape photographers R. Cahn, “Evolving Together”
L. Graber, “ Verbal & Visual Images”
Oct. 4 The ideal of Nature J. Knighton, “Eco-Porn…”
Sierra Club ‘exhibit format’ books Sight & Sensibility, Ch. 2
Ansel Adams E. Jussim/E. Lindquist-Cock,
"Landscape as God," and
"Landscape as Pure Form"
C. Bowden, “Blind in the Sun”
Oct. 11 Mid-term exam Reenchantment, Ch. 2 & 3
Selling Nature: E. Jussim/E. Lindquist-Cock,
Calendars & catalogues “Landscape as Politics”
New landscape photography B. McKibben, “Curbing Nature’s Paparazzi”
Patagonia, "Guidelines for Photographers"
Oct. 18 Television and ecological ideals: J. Beardsley, “Kiss Nature Goodbye”
Nature in our living rooms C.
Siebert, “The Artifice of the Natural”
Wild Kingdom Sight & Sensibility, Chs. 3 & 4
Pele’s Appeal
Oct. 25 The visual activist Sight & Sensibility, Chs. 5 & 6
Past student projects
Greenpeace’s Greatest Hits
Nov. 1 The politics of documentaries A. Wilson, “Looking at the Non-Human
Ecological design Sight & Sensibility, Ch. 7
Saviors of the Forest “D. Willis, H. Feinstein, “Drawing on Nature”
Cinematographic techniques D. Russell, “A Garden of Earthly Designs”
Filming the Invisible
Deadline for project topics
Nov. 8 The green ($) vision T. George, “Hollywood goes Green”
of Hollywood Reenchantment, Ch. 4-6
The poetic vision
Koyaanisquatsi
Nov. 15 Earthworks J. Beardsley, “Introduction--
Contemporary ecological arts Earthworks and Beyond”
Oisin P. Humphrey, “The Ethics of Earthworks”
Reenchantment, Ch. 7-9
Nov. 22 National Geographic: Reenchantment, Chs. 10 & 11
America’s lens on the world
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Nov. 29 Student projects Dec. 6 Student projects Dec. 13 Student projects Wrap-up and review |
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