In this guest post on the Ashden Directory’s Blog, Wallace Heim, co-editor of the Ashden Directory, spends a day in Liverpool – first with philosophers, then with artists.
Two weeks ago, in sight of the Mersey, and within a 100 yards of one another, you could find two very different ways of looking at human relations with nature. At Liverpool University's Philosophy Department, a dozen professors and lecturers exchanged ideas on alienation and the environment. Across the street, High Tideâ€™s latest exhibition of work by 11 artists opened at the Art & Design Academy.
The philosophers talked in a plain room around a table. We dived into meticulous explorations of how the human relates to the natural, and whether our perceived loss of touch from the natural world is justifiably the grounds for our current situation, or whether there is something in that estrangement which is vital, productive, even necessary.
A grappling with how to describe the experience and feeling of alienation moved alongside the historical and analytical exploration of it, through the Romantics, Marx, environmental ethics and new views on the built environment as â€˜naturalâ€™.
Seeing the gallery with those ideas still swimming in my mind made me look for a similar prodding of that sore zone between human and nature, wanting to see more than a rush to represent the effects of the estrangement, or to show a better or more ecological connection, as valuable as those are. I wanted to be taken, through art, into that suspension where not everything is known and already given, a place of sideways, even dangerous, questions.
This wasnâ€™t the theme of Mersey Basin, which was an exploration of rising sea levels, flooding and the ebb and flow of that shoreline. Works were composed of driftwood, mud, string, plastic detritus and woven wool. Some were juxtapositions of waste and beauty (Robyn Woolston, Gordon MacLellan), some had provocational intent (Ã€gata AlcaÃ±iz). Many artworks represented past conversations or performances, or long periods of attending to an environment, or of collaborations with scientists (Scott Thurston & Elizabeth Willow, James Brady & Stuart Carter).
Maps represented not only the present, but the ancient fluctuations of changing shorelines melding into projections of an uncertain future (Tim Pugh), and the visual pleasure of proposals forward for the Mersey Basin as a forested refuge for migrating species (David Haley).
The walking, marking and storytelling of the exhibition brought the materiality of the changing edge between sea and land into view. But the littoral could also describe the continually changing gap between the â€˜humanâ€™ and â€˜natureâ€™, and it was the philosophers who excited this most sharply, almost painfully, and pushed against the shortcomings of current knowledge as our environments change.
Pic: 'Trees of Grace: Draughting Change': David Haley shows our blogger a map of the Mersey Basin and Pennines that illustrates how it would look with a changed shoreline and re-forestation. (Yvonne Haley)
Reposted from: ashdenizen: two views across the mersey.