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Contesting ‘Environment’ through the lens of sustainability

This article reflects on implications of presenting nature as a social construction, and of commodification of nature. The social construction of nature tends to limit significance of nature to human perception of it. Commodification presents nature in strict instrumental terms as ‘natural resources’, ‘natural capital’ or ‘ecosystem services’. Both construction and commodification exhibit anthropocentric bias in denying intrinsic value of non-human species. This article will highlight the importance of a deep ecology perspective, by elaborating upon the ethical context in which construction and commodification of nature occur. Finally, this article will discuss the implications of this ethical context in relation to environmental education (EE) and education for sustainable development (ESD). https://doi.org/10.3384/cu.2000.1525.146931 https://www.linkedin.com/in/helenkopnina/

Ecosystem Services: Commodification and conservation?

Nature, natural resources and valuation in the Anthropocene

Biodiversity, including entire habitats and ecosystems, is recognized to be of great social and economic value. Conserving biodiversity has therefore become a task of international NGO’s as well as grass-roots organisations. The ‘classical’ model of conservation has been characterised by creation of designated nature areas to allow biodiversity to recover from the effects of human activities. Typically, such areas prohibit entry other than through commercial ecotourism or necessary monitoring activities, but also often involve commodification nature. This classical conservation model has been criticized for limiting valuation of nature to its commercial worth and for being insensitive to local communities. Simultaneously, ‘new conservation’ approaches have emerged. Propagating openness of conservation approaches, ‘new conservation’ has counteracted the calls for strict measures of biodiversity protection as the only means of protecting biodiversity. In turn, the ’new conservation’ was criticised for being inadequate in protecting those species that are not instrumental for human welfare. The aim of this article is to inquire whether sustainable future for non-humans can be achieved based on commodification of nature and/or upon open approaches to conservation. It is argued that while economic development does not necessarily lead to greater environmental protection, strict regulation combined with economic interests can be effective. Thus, economic approaches by mainstream conservation institutions cannot be easily dismissed. However, ‘new conservation’ can also be useful in opening up alternatives, such as care-based and spiritual approaches to valuation of nature. Complementary to market-based approaches to conservation, alternative ontologies of the human development as empathic beings embedded in intimate ethical relations with non-humans are proposed. https://www.linkedin.com/in/helenkopnina/

Artistic Educational Commoning as a Laboratory of the Real

This article presents and discusses an extracurricular, co-constructed programme: “The Catalyst Club” as a form of Artistic Educational Commoning (AEC). Having been developed as part of a PhD research at Minerva Art Academy (Groningen, TheNetherlands), The Catalyst Club (TCC) explored new perspectives on the education of artists and designers in a globalized world and created alternative modes of operating in higher art education. It brought together students, alumni, teachers from a range of disciplines, and external participants. During developing TCC, the author occupied a dual role as researcher and participant, working together with others in an artistic co-creative process. TCC drew on and developed the methods relating to Collaborative Autoethnography, Participatory Action Research and Artistic Research. This study presents AEC as a communal effort to build spaces for learning and experimentation. They are created through interaction and cooperation, based on social relations and the production of shared values. As such it can offer a counterbalance to the extensive individualisation, instrumentalization, and commodification of communities in higher art education. The article formulates some recommendations on how AEC can reconnect the education of artists and designers with the role of the arts in wider technological, societal, and political contexts.

Plot Work as an Artistic Praxis in Today’s Cityscapes

This is a print publication of the inaugural lecture of Research Professor (Lector) Patricia de Vries at the Gerrit Rietveld Academie, in Amsterdam. In this lecture, she elaborated on the research area of her research group Art & Spatial Praxis. The research group Art & Spatial Praxis focuses on artistic practices that broaden our imaginations of alternative social orders and ways of living within capitalist city structures.The thematic focus of Art & Spatial Praxis builds on Sylvia Wynter’s rich notion of the plot. With her conception of the plot, Wynter connects the historical enclosures of the plantation to today’s cityscapes. The plot stands for other possibilities that are always present. It represents possibilities rooted in different values and different social orders. This is to say, cityscapes and public spaces are relational, contingent and always contested. The plot challenges the forces of domination, appropriation, exploitation, commodification, gentrification, segregation, digitization, and quantification.What if plot work is a praxis that is socially enacted, embodied, narrativised, and materialised in art practices? What could the plot as artistic praxis be(come)? What constitutes it? What conditions and sustains it? What kind of behaviour, ways of seeing, knowing, and relating does it encourage? In short: what does the plot mean as a spatial art praxis in today’s cityscapes? These are some of the questions the research group Art & Spatial Praxis engages with. These are also pressing questions in the increasingly regulated, privatized, surveilled, and diminished public spaces in ever-more neoliberal cities.Over the years, De Vries has written on a range of topics – be it on fungal co-existence or facial recognition technology: the relationship between society, art, design and research is always the connecting thread.

Creative tourism in Balinese rural communities

The present study extends knowledge on creative tourism in rural areas. It was unclear from previous research how features of creative tourism, such as risk of commodification, play out in rural areas of developing countries. The study built on theoretical overlaps which suggest that creative tourism may improve the potential of community-based tourism. Literature suggested that creative tourism may address three issues plaguing community-based tourism: (1) lack of financial resources could be circumvented with intangible heritage; (2) loss of cultural identity could be reversed by sparking interest for culture; (3) power relations between hosts and guests could be rebalanced by repositioning locals from servant to teacher. These theoretical overlaps were explored in the context of five Balinese villages using a microethnographic approach with participant observations and expert interviews. Findings from this study partly confirm and extend the theoretical synergies. Furthermore, a new synergy, increasing enthusiasm for intercultural exchange, and one negative interaction, intangibility as a differentiator, were found. Findings also revealed conditions for success in developing creative tourism in a community-based tourism context. In sum, we contribute the conclusion that creative tourism in rural areas is promising under certain conditions.