Now, wilderness can be seen as a useful fiction, a fiction constructed by John Muir and his heirs and deployed to keep places from being destroyed by resource extraction and wholesale development.
Rebecca SolnitMots clés wilderness landscape 247
Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.
Rebecca SolnitMots clés photography ecology landscape 241 aesthetics-eliot-porter
Building a museum case and filling it with types of mussels is one way of knowing mussels; but on the shore, a mussel leads to a crab or a curious stone, which leads to another thing and eventually leads back to mussels, which is another and perhaps a more far-reaching way to know mussels. The sea that always seems like a metaphor, but one that is always moving, cannot be fixed, like a heart that is a like a tongue that is like a mystery that is like a story that is like a border that is like something altogether different and like everything at once. One thing leads to another, and this is the treasure that always runs through your fingers and never runs out.
Rebecca SolnitMots clés discovery landscape 382-383
If gold has been prized because it is the most inert element, changeless and incorruptible, water is prized for the opposite reason -- its fluidity, mobility, changeability that make it a necessity and a metaphor for life itself. To value gold over water is to value economy over ecology, that which can be locked up over that which connects all things.
Rebecca SolnitMots clés gold water values 124
...William Stegner...coined the term 'the geography of hope,' countering the argument that wilderness preservation served elites with the assertion that wilderness could be a place in which everyone could locate their hopefulness even if few actually entered it.
Rebecca SolnitMots clés hope wilderness 229
The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories we tell.
Rebecca SolnitMots clés stories stars meaning 165
Why is it that white people find it easier to think like a mountain than like a person of colour?'
Carl Anthony quoted by Rebecca Solnit
Mots clés 283 environmental-justice
Feminism has both undone the hierarchy in which the elements aligned with the masculine were given greater value than those of the feminine and undermined the metaphors that aligned these broad aspects of experience with gender. So, there goes women and nature. What does it leave us with? One thing is a political mandate to decentralize privilege and power and equalize access, and that can be a literal spatial goal too, the goal of our designed landscapes and even the managed ones -- the national parks, forests, refuges, recreation areas, and so on.
Rebecca SolnitMots clés justice environment feminism landscape 285
One of the functions of landscape it to correspond to, nurture, and provoke exploration of the landscape of the imagination. Space to walk is also space to think, and I think that's one thing landscapes give us: places to think longer, more uninterrupted thoughts or thoughts to a rhythm other than the staccato of navigating the city.
Rebecca SolnitI think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels
Rebecca SolnitMots clés feminism architecture landscape 288
« ; premier précédent
Page 6 de 14.
suivant dernier » ;
Data privacy
Imprint
Contact
Diese Website verwendet Cookies, um Ihnen die bestmögliche Funktionalität bieten zu können.