Author Archives: Elise Darr

Final Essay

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Elise Darr

J. Pressman

ECL 305

May 9, 2024

“The Universal Language of Art and its Impact on the Natural World”

Our world is filled with a variety of human experiences, each contributing uniquely to our global community. However, this diversity can sometimes lead to conflict as different languages and cultures begin to shape varying ideologies and beliefs. That said, art has the sensational ability to overcome these barriers— serving as a universal language that connects communities across the world. As the state of the natural world worsens due to climate change, the urgency of addressing environmental degradation becomes more apparent. Scholars such as Robert Emmett and David Nye note that art, and the humanities overall, offer a deeper understanding of humanity’s relationship with the natural world. Through an innovative collaboration with sciences and the humanities, these approaches challenge the anthropocentric worldview that often underscores Western society’s environmental perspectives. Historian William Cronon notes that the West has constructed its modern view of the environment. However, photography challenges these perspectives, emphasizing the importance of an interdisciplinary approach to combatting climate change. Photography, in particular, is a powerful tool to show human’s relationship with nature. In his photography series, “Inherit the Dust,” Nick Brandt juxtaposes images of African wildlife against scenes of man-made environmental degradation to highlight the impact of human activity on Africa’s natural environment. Brandt’s black-and-white photos contribute to a broader understanding of environmental issues that challenge the Western-centric narrative. These images illustrate how art fosters a connection between humans and the environment, presenting diverse perspectives of nature that cultivate the empathy necessary to comprehend and revere the natural world.

Photography’s recent recognition as an important aspect of addressing climate is indicative of a broader trend identified by scholars Robert Emmett and David Nye. Academics Emmett and Nye explain in their paper “The Emergence of the Environmental Humanities” that art and literature have entered scientific discussions of environmental issues. The “environmental humanities” emerged as an “interdisciplinary endeavor” (Emmett Nye 1) that aims to create a “creative cooperative between the humanities and the science” that promotes innovative perspectives on the environmental crisis (Emmett Nye 7). In other words, the environmental humanities have the transformative potential to shift perspectives of humanity’s relationship with the natural world, allowing modern society to recognize that human beings are not “firmly at the center” of this planet (Emmett Nye 11). Emmett and Nye’s observations highlight the capacity of the humanities to facilitate a more nuanced understanding of the natural world. Art and literature challenge the anthropocentric worldview, giving the humanities’ “creative cooperation” with science the revolutionary potential to combat climate change through broadening humans’ collective understanding and fostering empathy towards the natural world. 

Creating a relationship between humans and the environment built on empathy challenges the anthropocentric worldview that has influenced Western society’s environmental stance. Western perspectives have created an understanding of the natural that often leads to a neglect of environmental crises beyond their Westerners’ immediate purview. This tendency is particularly evident in the United States, where efforts to address climate change often prioritize self-preservation over global ecological stewardship. In “The Trouble with Wilderness,” environmental historian William Cronon explains that the romanticism movement and “leisure-time frontier fantasies” have created a “wilderness in [Americans’] own image” (Cronon 15). This image establishes the “wild country” as a place “of national renewal,” making it the ‘best’ location “for experiencing what it mean[s] to be an American” (Cronon 13). Additionally, as the “myth of a vanishing frontier” began to emerge in the 1890s, along did the idea of environmental preservation, as Americans wanted to “save [their] last remnants as monuments to American past” (Cronon 13). Cronon’s use of the terms “myth” and “national” highlights the constructed nature of America’s perception of the natural world— a viewpoint that revolves around the idea that humans, particularly Americans, are at the center of the environment. While environmental preservation is important, the only way for this to be effective is by recognizing that the wilderness was here long before humans had risen. Understanding the environment has its own intrinsic identity, independent of human narrative, leads to a preservation approach that prioritizes reverence and respect. 

As an American, navigating the ideologies shaped by the Western-centric narrative can be challenging. This is where the environmental humanities’ interdisciplinary approach to nature preservation proves invaluable. While America tends to focus on preserving its own landscape, this focus can lead to an oversight of the environmental crisis in other parts of the world. Art, particularly photography offers insight into these global perspectives. For example, Nick Brandt’s photography series, “Inherit the Dust,” shows the environmental crisis from East Africa’s standpoint. In this series, Brandt juxtaposes images of African wildlife with scenes of man-made environmental destruction. For example, the photo “Quarry with Lion” showcases a lion looking over the construction site of a quarry, reminiscent of the way a lion looks over its pride. Brandt’s decision to use photography as his medium to share his message is especially impactful as photography is a great means of documentation. Unlike other forms of art, photography has the capacity to provide visual evidence of environmental degradation in real-time. These photos immortalize moments of destruction, allowing viewers to witness the direct consequences of human activity on the natural world. “Inherit the Dust” is especially impactful to Western society, where representations of Africa are neglected in mainstream media. By showcasing communities from around the world, photography creates a sense of interconnectedness among humans. This relationship is necessary for understanding the environment as a unified entity and recognizing the collective responsibility humans have to respect it. 

As an art form, photography holds many unique elements that contribute to the impact of the photo. Coloring is among the most important aspects of creating a meaningful photo. One photography workshop notes that “careful use of color can provide a shortcut” in establishing a connection with viewers as “different colors evoke different emotions” (“Why is Color”). “Inherit the Dust” only contains photographs in black and white. While color photography allows for a vivid representation of reality, black and white images eliminate the distraction of color, encouraging viewers to focus on contrast within the scene. Without color, the juxtaposition of the wildlife and degradation becomes more apparent. The images carry a rawness that demands the viewer’s attention, stripping away aesthetics and emphasizing the direness of the environmental crisis. Moreover, the black and white quality imbues the photographs with a timeless quality, as early photography was only offered in this quality. This timelessness reinforces the notion that environmental degradation is not confined to a specific moment in time, rather it is an ongoing universal concern. Therefore, the coloring of “Inherit the Dust” not only expresses the urgency of protecting the natural world but also takes away aesthetic distractions, allowing the viewer to connect deeply with the subject matter. 

As stated earlier, Brandt’s photo titled “Quarry with Lion” juxtaposes a lion with a quarry construction site. The decision to use a lion as the central subject is significant, as lions are commonly regarded as apex predators that symbolize strength and dominance in the natural world. Physically, a lion has the capability to overpower a human. However, this photo portrays the lion in a vulnerable position as they feel powerless in the face of the quarry construction site. In essence, the photograph serves as a reminder of humanity’s capacity to assert dominance over nature at the expense of ecological integrity. The quarry represents human inflation in the lion’s habitat, symbolizing the relentless pursuit of economic gain at the expense of the wild. In other words, this image highlights the inherent vulnerability of nature in the face of human exploitation. Through this juxtaposition, Brandt challenges viewers to confront the consequences of human actions and consider the implications of our relentless pursuit of conquering the natural world. To put it simply, Brandt’s photography establishes a sense of interconnectedness between human and the environment, while also demonstrating that this is a global crisis. Perhaps the realization will encourage others to consider the consequences of humans’ behavior on the environment and recognize that this is an issue that must be addressed collectively. Such a nuanced understating of this planet may lead to a society that focuses on living in balance with nature rather than attempting to conquer it. 

The recognition of photography as a vital tool in addressing climate change emphasizes how the interdisciplinary approach of the environmental humanities is invaluable when discussing the complexities of global environmental challenges. Art provides diverse perspectives of the natural world, serving as a powerful medium for raising awareness, fostering empathy, and inspiring action. The works from Emmett, Nye, Cronon, and Brandt work together to emphasize how interdisciplinary collaboration establishes a deep understanding of the interconnectedness of all living things. All in all, this highlights how Western society must focus on collaboration with the arts, science, and diverse world views to combat environmental degradation. 

Week 15: We Are Mermaids

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Stephanie Burt’s poem, “We Are Mermaids,” has a contemplative tone that provokes readers to consider how nature’s essence intertwines with the human experience. The opening line “The salt of the ocean is always the salt of tears,” establishes a connection between the grandeur of the ocean and human emotions. This interconnectedness between humans and nature is further established in the seventh stanza. The line “You can spend your life benthic, or brackish” invites readers to reflect on the various experiences life offers. “Benthic” refers to the bottom of a body of water while “brackish” refers to water that is a mix of fresh water and salt water. This line proposes that one can live a life grounded in stability, or in a state of ambiguity and change. Burt uses imagery in “Subsisting and even thriving where a fingertip / comes away saline and still refreshing” to explain that there is still sustenance in “brackish” environments. This line explains that one can grow in a state of uncertainty. The word “refreshing” proposes that while it may be challenging to find this wisdom it is also invigorating. The last lines of the stanza, “Exploring the estuary, the submerged lip / and congeries of overlapping shores / on the green-black water, the harbor, the bay,” may symbolize the boundaries between the water and land. “Congeries of overlapping shores” suggests the interconnectedness between nature and humanity— perhaps symbolizing the various life transitions humans experience.

In other words, this poem enables us to consider nature’s fluidity in relation to our own lives. As a college student, I feel that I am in a current state of ambiguity. Burt’s language suggests that we learn from the fluidity in nature. Humans are also a part of nature, and this poem reminds us that we can find wisdom in embracing uncertainties in life and, ultimately, learn from nature’s rhythm.

Final Essay Proposal: Photography’s impact on the climate crisis

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Thesis: In his photography series, “Inherit the Dust,” Nick Brandt juxtaposes images of African wildlife against scenes of man-made environmental degradation to highlight the impact of human activity on Africa’s natural environment. Brandt’s photography contributes to a broader understanding of environmental issues that challenge the Western-centric narrative. These images illustrate how art fosters a connection between humans and the environment, presenting diverse perspectives of nature that cultivate the empathy necessary to comprehend and revere the natural world.

Sources:

“Inherit the Dust” by Nick Brandt — https://www.inheritthedust.com/

“The Emergence of Environmental Humanities” by Robert Emmett and David Nye

Week 14: Identity in The Deep

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Chapter five of The Deep explores Yetu’s struggle with her identity as she chooses to leave the Remembrance in fear that the weight of carrying her ancestors’ memories will kill her. As Yetu is leaving, she considers how her actions will impact the wajinru and wonders if her community will “be as lost in the face of [remembering] as she’d always been” (66). This moment demonstrates the emotional burden that these memories have on Yetu. The suffering of her ancestors weighs heavy on her mind, at times even consuming her. For example, at the start of the story, Amaba finds Yetu in a circle of sharks. In chapter three readers learn that Yetu “went to the waters of the great whites” because the act of remembering has “pulled her deeper and deeper into the abyss of the past” (40). In other words, the memories consume her to the point where she forgets “who she is altogether” (38) and embodies her ancestors. The burden of history becomes intertwined with Yetu’s sense of self, making it difficult for her to separate herself from the responsibilities of being the Historian.

Since Yetu is completely immersed in her ancestor’s experiences, she is given little time to discover herself or process the weight of these memories. In chapter five, when Yetu is traveling up to the surface, she concludes that the area “was familiar” but she couldn’t decide if it was from personal experience or a part of wajinru history. She explains that “whenever she tried to concentrate on anything specific, it slipped through her mind like sand through her webbed fingers. She could feel it still, but she didn’t know it” (67). To put it simply, Yetu’s inability to differentiate her experiences from those of the past has made her disconnected from herself. This moment highlights the central theme of identity and encourages readers to consider how collective trauma impacts individuality. Yetu is consumed by the suffering of the past and it’s inhibiting her from creating her own memories and experiences. Overall, this chapter helps readers understand the weight of collective trauma and the difficulties that come with navigating this suffering.

Week 13: Aganju and Yemaja

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This week I found the story “Aganju and Yemaja” from the Penguin Book of Mermaids particularly interesting. Aganju and Yemaja are deities from the Yoruba religion and mythology of West Africa. Yemaja, the goddess who “presides over ordeals by water,” marries her brother Aganju, a god representative of Land. The couple then have a son named Orugan, whose name references the “apparent space between the sky and earth,” or in other words, Air. Orungan falls in love with Yemaja, eventually leading to the goddesses’ fate of swelling and bursting into water, and the creation of several gods.

I found it interesting that Orungan “stretching his hand out to seize [Yemaja]” is what led to the goddess falling “backward to the ground,” swelling, and then ‘bursting’ into streams of water. Perhaps this is meant to show the dynamic balance present in nature. There is an attraction of opposites in this story as Orungan’s symbolic representation of air can be interpreted as chaos in nature. Air creates the heavy storms associated with destruction. On the other hand, as a female figure, Yemaja embodies nurturing and protective qualities that are aligned with the Yoruba’s beliefs regarding the ocean. In Yoruba mythology, the ocean is thought to provide sustenance for life. Perhaps the relationship between Orungan and Yemaja is meant to symbolize the interplay between destructive and nurturing forces in the natural world. Just as storms can bring forth destruction, they can also create room for new growth and regeneration. Therefore, this story may highlight the importance of balance and reciprocity in maintaining harmony with the natural world.

Week 11: Sirenomelia

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Emilija Škarnulytė’s short film, Sirenomelia, depicts a mermaid exploring an abandoned NATO base in the Arctic Ocean. I found the cinematography of the film particularly interesting. The mirrored imaging at the beginning may symbolize shifting perspectives— introducing the audience to the mermaid’s world. In fact, Škarnulytė shifts perspectives throughout the entire film, juxtaposing the barren landscape of the Arctic with the dark and eerie underwater world. That said, the film shows that this landscape is not as barren as it seems by showing a mermaid discovering the forgotten base. In the past few weeks, we have challenged the idea of the ocean as a barren landscape. Škarnulytė’s focus on shifting perspectives emphasizes the idea that the natural world is interconnected. The images blur the boundaries between life on land and the aquatic world.

The decision to have a mermaid— a creature that is half fish and half human— exploring this area also highlights the interconnectedness of our world. Through the mermaid’s perspective, the audience is able to see the impact of human activity on our environment. The scenes of the mermaid swimming around the base are haunting. The water is brown, there’s machinery haphazardly around, and concrete separates the water on the base from the rest of the ocean. These scenes provide a commentary on the effects of human exploitation and the disregard for nature. Škarnulytė confronts the audience with the consequences of our actions, reminding viewers of our interconnectedness with the environment and urging humans to make an effort to protect it.

Week 10: Terracentrism and Mermaids

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Eric Paul Roorda’s introduction to The Ocean Reader advocates for a more holistic understanding of the ocean, challenging the notion of “separate bodies of water named as different Oceans” (2). Roorda continues our discussion of the Blue Humanities by arguing that the challenges facing the ocean can be addressed with an interdisciplinary approach–incorporating history and culture into marine science. A major reason why most of our ocean has gone unexplored is due to “terracentrism,” a term referring to “people’s tendency to consider the world and human activity mainly in the context of land and events that take place on land” (1). Terracentrism has deep roots in our history and has heavily influenced how knowledge is constructed and perceived. This bias limits our understanding of interconnected ecosystems and marginalizes the study of the ocean.

Terracentrism influences how humans interact and perceive marine environments, including the creatures that inhabit them. This skewed understanding of ocean life can be seen in our study of mermaids. Most of the mermaid stories we have discussed thus far have portrayed mermaids as half-human. These depictions accentuate a deeper bias ingrained in Western culture. By portraying mermaids as half-human, these stories inherently suggest that only beings with human-like features can possess intelligence, emotions, and agency. This perspective not only reflects a limited understanding of marine life, but also perpetuates a hierarchical view of the natural world. Additionally, half-human mermaids reflect the tendency to project human traits and experiences on non-human entities. This lens reinforces terracentrism, which creates the risk of overlooking the complex and diverse ocean habitats.

Overall, I found Roorda’s introduction powerful as it highlights the “natural bias” (1) humans have when discussing the ocean. As Roorda says, “we all depend on the ocean” (4), and actively recognizing this bias may lead to a deeper and more empathetic understanding of aquatic life.

Week 9: Politics and the Environment

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“The Emergence of Environmental Humanities” by Robert Emmett and David Nye defines environmental humanities as an interdisciplinary field that explores humans’ relationship with the environment through the lens of humanities such as history, philosophy, political theory, and art. Emmett and Nye advocate for integrating humanities with natural and social sciences, as doing so will help develop more sustainable and effective solutions to the current environmental crisis. One observation I found particularly interesting was how corruption in government and politics has obstructed efforts to address environmental issues.

On page two, Emmett and Nye write about a plan established in 2010 that called for an “ecological community of 50,000 to be built on marshy land near Shanghai” (2). However, “nothing was built” as “local farmers [and scientists] were never consulted” and “the politicians involved were removed after fraud convictions” (2). Such examples demonstrate politicians’ failure to understand the complexity of environmental sustainability. Creating policies without consulting those most knowledgeable about the environmental impact of human activities prevents policymakers— and the general public— from making effective informed decisions. Politicians’ “agendas” and “initial goals” are “affected by political ideologies and economic interests” (5). Those who hold the power to make substantial change prioritize short-term gains or personal interests over the long-term health of the environment. This leads to neglect of pressing environmental issues like pollution, deforestation, and global warming.

Politicians’ skewed priorities have led to a disconnect with the public. Emmett and Nye argue that “the environmental humanities [enact] a positive response to complex social-environmental issues” (9). This is because “writers, photographers, and artists” hold the ability “to communicate the complex relationships of societies and their environment” (7). For example, a photographer might use images to document environmental degradation and the communities affected by it. These images provide visual evidence of the interconnectedness of human and environmental dynamics. Additionally, political corruption often results in the marginalization of vulnerable communities such as indigenous populations or those in poverty. Emmett and Nye observe that while there is some effort to help the enviornment, there is a lack of consideration for how these efforts “affect the poor and ethnic minorities” (17). For example, “toxic waste sites were located near communities of African Americans” (17). The failure to consider the interconnectedness of the enviornment and social issues results in policies that exacerbate rather than alleviate the burdens of current sustainability efforts.

Overall, Emmett and Nye’s observations underscore the urgent need for environmental efforts to connect with the humanities— highlighting how systemic inequality and political corruption prevent humanity from connecting with the natural world.