This is a recording of my recent talk at the Environmental Humanities programme at the University of New South Wales, Sydney, Australia. Thanks to Thom Van Dooren and Matt Kearnes for organising.
This is a recording of my recent talk at the Environmental Humanities programme at the University of New South Wales, Sydney, Australia. Thanks to Thom Van Dooren and Matt Kearnes for organising.
This is a full recording of a talk I gave at the New School for Social Research in New York on 27 October, 2016, including perceptive and generous comments by Rafi Youatt. It was part of a workshop entitled “Global Politics Without Ignorance” organised by Anne McNevin, Erdinc Erdem and others at the New School. The workshop focused on different understandings of knowledge and ignorance within global politics, drawing on critical race theory and embracing a wide variety of approaches, including decolonial and posthumanist thought.
A couple of notes. First, whenever I use the terms ‘human’ or ‘humanity’ (or emphasise something weirdly), assume I’m doing air quotes. Second, I refer to a few others in the room by first name only – they are: Anne (McNevin), Rafi (Youatt), Patrick (Jackson) and Zuleika (Arashiro). Because I can’t include embedded quotes in audio form, I’d like to cite the sources of a couple of things I mention. My discussion of refusals by plants is drawn largely from the work of Wendy Makoons Geniusz and Robin Wall Kimmerer; while the discussion of the Sedna and the withdrawal of animals is drawn from the work of Tim Leduc . I also want to thank the Creatures’ Collective for inspiring and co-incubating many of the ideas discussed here.
The imagery in the background is called ‘Transversals’ and was produced during the workshop as I began thinking through this alternative to ‘(the) global’ or ‘universals’ (more on this to follow…)
Over the last year or so, it’s been my privilege to help convene a wonderful collective of scholars, writers, thinkers and knowledge-keepers – the Creatures Collective. We are a group of Indigenous and non-Indigenous scholars (I am amongst the latter) who are working together and as part of broader collectives, families and relations to contest dominant narratives of the global extinction crisis. Our conversations center plural forms of Indigenous knowledge and we strive to approach our work as a lived, experiential ethics – what Creature Noah Theriault has called ‘more-than-research’. This approach seeks not only to understand the protocols, laws and bonds broken by ‘extinction’, but also actively to help remake them. This is not only research – it aspires to be a lived, committed, embodied form of work.
I have felt disconnected from this kind of work for most of my career. Finishing my PhD as the global financial crisis ramped up, I entered a UK academic job market in which staying afloat meant producing large numbers of quantifiable, ranked outputs and generating constant flows of grant money (or at least applications). Achievements were not experienced so much as measured, assessed and compiled, calculated into averages and translated into floating numerical indicators of ‘excellence’. Conventions of value and prestige consigned entire categories of publication and modes of working to worthlessness. For instance, a colleague was told that many of her early publications were ‘CV pollution’. Working weekends and late into the night were so normalized that it was considered self-indulgent to take them off. Even if the actual expectations for outputs were not outrageous, I felt enveloped by the pressure to maintain whatever level of productivity I’d reached, constantly attempting to overshoot in the hopes of making some space to catch my breath. Of course, as soon as I did, new demands consumed my hard-hoarded time. As I ‘progressed in my career’, I watched my PhD students racing to publish at an even faster rate than I had found necessary, barely taking the time to settle into their projects before being consumed in frantic job-market strategizing.
This logic and lifestyle were not exactly difficult for me to internalize. If anything, I adapted to them them with an unhealthy degree of compliance. But doing so had deep implications for how work felt. The grating anxiety of quantification formed a thick callous, separating me from my work. I entered a kind of dissociative state in which the work I was doing passed through me without making much of an impression. The time or energy I felt I had available to commit to a piece of work was limited: as soon as a book or article was published, it dropped out of my circle of concern. I became prolific and promiscuous with projects, jumping from one to the next, phasing each one to match the machinery of deadlines, publication gaps and reviewing backups to ensure a constant feed of outputs. What this actually fed was my anxiety: any gaps in the assembly line became signals of failure. Getting promoted and achieving other ‘milestones’ didn’t remove the deadening buzz of pressurized momentum – if anything, they amplified it.
My experience is hardly unique: the culture of constant anxiety, strain, workaholism and wildly inflating expectations is the norm in neo-liberal universities. How are academics expected to deal with this? Well, we are encouraged to develop something called a ‘work/life balance’. At first glance, this sounds like a good idea: earmarking some time free from constant performance surveillance and production mania. But in reality, ‘work/life balance’ is a tool of neoliberal resilience – it encourages small periods of rest in order to sustain high levels of productivity. More than this, it installs a dichotomy between work and life that is harmful to both. It is not simply that ‘work/life’ balance frames ‘life’ as fragments of excess or waste – what is left over after work (if that ‘after’ ever arrives). Just as alarming is the fact that work is opposed to life – it becomes lifeless.
Collaborating with the Creatures Collective has brought me to a different understanding that I will call lifework (centring life, and opposed to the harsh severance of work/life or the disjointing of work-life). Within this group, we talk about work as ethics, as the embodied fulfillment of responsibilities, as relation-weaving and worldmaking. Work is lived, and work has life – one lives, and lives with, one’s work as one lives with other beings. This absolutely does not mean that formal, professional ‘work’ should be allowed to bleed into every aspect of one’s daily life. There are always aspects of working in a modern Western institution that produce abstraction and disconnection, and need to be strictly limited. It also does not mean shirking the duty to publish, write grant proposals or ‘produce’ in those conventional senses. It is still possible to operate in these worlds and to honour many of the demands that they make. Lifework is vigorous, creative and highly generative of a wide range of ‘outcomes’- but production is part of the life of the work, and not an end in itself. It involves recognizing the life (one’s ‘own’ and that of others) put into one’s work, being present in that work and in those lives. Lifework recognizes that work produces beings that affect worlds around them, deserve respect, and command care.
Here are a few of the things I’ve learned and principles I’m trying to live up to since working as part of this collective. Because we are a collective, these ideas are ours and not ‘mine’ – but I would not claim to speak for the group as a whole. Instead, I would say that these ideas are inspired and fostered by our collaborative work and relations. These ideas are also deeply influenced by Indigenous research methods, and by the approaches of Indigenous scholar-friends, but they are not, strictly speaking, Indigenous methods. Instead, they are reflections about the lifework I’m engaging in with others, and how I’m learning to care for it:
Lifework is a responsibility. By virtue of being who and what I am, on this land and planet, as a being that harms other beings in my existence and actions, I have responsibilities to them. The work I do should clarify these responsibilities and help me to live up to them.
Lifework is a commitment that goes far beyond production. I need to make the commitment to every piece of work I do, with all that entails: obligation, care, humility and patience. Regardless of pressures, norms or incentives, I should not begin any piece of work that I am not willing to commit to care for in this way.
Knowledge, ideas, wisdom, creativity and inspiration are gifts. I work with them, but they are not mine in a proprietary way: they are always given, and maintained, by plural others. I need to recognize and receive them as gifts, and wherever it is possible, to reciprocate. I also need to understand lifework in the form of gifts. This does not mean assuming that my work is so excellent that I consider it a ‘gift to the world’. On the contrary, it means having the humility to think about how it can serve others and meet their needs, how it can be given without demanding reciprocity (which would involve exchange, not giving – see Rauna Kuokannen’s excellent work on this subject).
Lifework should not be rushed. It requires building community, living with ideas, changing one’s mind, allowing experience and relations to shape me. All of this takes time; it richens and ripens over time. Lifework needs to be lived with.
Putting something into words – especially shared words – has power and impact, no matter how small or indirect. It may be necessary to wait patiently until I can speak or write about something with integrity before I try to do so.
Just because I can master a subject, form of knowledge, or practice does not mean that I should. I need to be careful, respectful and attentive about what is ‘for me’ and what isn’t. I need to know the limits of my knowledge and place limits on what I expose, take, transport to other spheres or transform.
I need to be concerned about the lives of ideas, words and knowledge that I work with. That means that I need to think carefully about what might be done with those beings, how they might be received, interpreted, instrumentalized, abused, commodified or otherwise co-opted. This does not necessarily mean refusing to write or speak about them, but rather committing to care for them after they are put into different worlds (e.g. in print, online, or into antagonistic forms of academic discourse). It also does not reflect any fantasies of control over the lives of ideas once they leave me, or a stubborn refusal to allow them to be changed, hybridized, hacked, or remixed. Instead, it calls for a commitment to care for those ideas, to defend and protect them when needed, but also to embrace their transformations. This responsibility does not end with publication: it simply enters a new phase.
Keeping secrets, holding knowledge, is as important as disseminating it widely. The imperative to ‘mobilize’ knowledge amongst wide public audiences is a part of academic life. It can be serve a lot of worthy purposes – for instance, fulfilling one’s duties to communities and broader publics, raising awareness of important issues, helping to decolonize knowledge, and creating beneficial networks. However, it can also expose knowledge to predation, instrumentalization, (willful) misinterpretation or violation. Concepts like ‘impact’ and ‘knowledge mobilization’ suggest that knowledge is beneficial to the extent that it is made public. This suggests that all of ‘humanity’ should have a claim to particular knowledge. In fact, sometimes protecting knowledge means keeping it secret, helping to nurture modes of transmission that are closed to outsiders (and respecting this in one’s own actions). It might mean refusing to divulge information that could result in harm, or in cases in which exposure is harm in itself (Simpson 2014). Even if this means that much of the knowledge shared in co-researching is ‘off the record’, this kind of work makes important contributions to the nurturing of knowledge.
When I learn from others, I am taking something and I owe something in return – if only the necessary respect. I may not always be allowed to take what I want. There are obligations involved, permission to be asked, negotiations to be carried out. Others (human and otherwise) can always refuse, and I need to honour and learn from, rather than resent, those refusals.
Lifework must embody my ethics, not just comply with them. Of course, any action compromises my ethics (aside from, and sometimes in conflict with, codes of institutional or professional ethics) should not be part of the work I do. But beyond this negative account, the work I do should help to realize my ethical commitments in the world. My work and ways of working must be ethical acts in themselves.
If I ever find myself working on something that I find boring, repetitive or uninteresting, I should not be doing it. To work with ideas or beings that I don’t actively care about is disrespectful to those things. I should be the right person to make each argument I’m making. If I am not inspired or called by it, then I am not the right person.
Each piece of work I do takes a great deal, not only from me, but from all of the others that co-work with me: time taken away from other things, care, energy, resources, input, patience, calories, bytes, printed paper, emotion, and so on. For this reason, no project should be considered a ‘throwaway’, or a quick job (this calls to mind the recent idea of the ‘quick monograph’ now circulating in UK academia). Rushing to produce something and then abandoning it is deeply wasteful and contemptuous of the value of all of these beings that co-create it.
Sometimes lifeworking in this way means starting from scratch. No matter what I have done or achieved, if I am entering into a new place or body of knowledge, or interacting with beings who are new to me, I need to start from the ground up. There is no shame or loss of stature in this – it is a privilege to be allowed to begin again and renew as one moves through different worlds. This learning takes the time, energy and commitment of others, which all need to be respected, and should not be taken for granted or treated as an entitlement.
These are a few of the ideas I am reflecting on – and living with – as I try to move from work/life to lifework. I am not claiming that I live up to these principles completely, or every day. Instead, they are intentions that are guiding my work, helping me to find – and hopefully to nurture – the life in and around it. I would love to hear from others who are trying to do the same.
*Note: I want to recognise that it’s relatively easy for me to write these things from the privileged position of tenure. Colleagues who do not (yet) have this security, and/or are working against structural forms of exclusion, may find it much riskier to talk about their experiences, let alone to criticise the power structures that lock so many of us into unhealthy work-lives. For that reason, I strongly believe that it falls on those of us with tenure (or equivalent job security) do everything we can to create a culture in which all of our colleagues have the time and space to take care of themselves and others. This not only means trying to achieve wellness, kindness and reciprocity in our own lifework, and being a source of support for others, but also talking about these issues in order to make healthier ways of working acceptable in our workplaces.
On Wednesday, 1 June, I am honoured to host some of the most fascinating scholars working at the intersection of Indigenous philosophy and ecological crisis, both here in Canada and around the world, at the event Indigenous Visions of the Global Extinction Crisis . If you happen to be in the Waterloo area, please join us for the opening event, which will include Haudenosaunee remembrance and condolence ceremonies, a talking circle featuring workshop participants and all attendees, songs from the Waterloo Aboriginal Students Association and an art exhibition/ spoken word performance featuring the work of the very talented Cara Loft and Zoe Todd . This event will mark the beginning of a collaborative project that features contributions from (in alphabetical order): Tim Leduc, Genese Sodikoff, Makere Stewart-Harawira, Noah Theriault, Zoe Todd, Vanessa Watts and Sarah Wright (joining us on behalf of the Bawaka Country Research Collective) Special thanks also to my colleagues at the Office of Aboriginal Initiatives at Wilfrid Laurier University (especially Jean Becker, Melissa Ireland and Kandice Baptiste) for their guidance, input and teachings. I am grateful to the gifted (and tireless) Tahnee Prior for her help in organising the event, and to the Balsillie School of International Affairs, Wilfrid Laurier University and the Independent Social Research Foundation for funding this event.
For those of you who can’t join us in person, I’d like to share an abridged version of my opening talk for the event, to give you a sense of the community and projects we are aiming to build. Please note that the text has been edited to remove personal and/or ceremonial aspects of the event out of respect for these people and traditions.
This workshop marks the beginning of an ongoing, collaborative project, so please get in touch if you are interested in finding out more.
Thank you so much for coming today. I am honoured that you could all join us for the opening of this new project, and I look forward to learning from and with all of you over the next hours and days .I hope that this will event will mark the beginning of many rewarding relationships and new collaborations.
We’ll begin by acknowledging that we are on the traditional territory of the Neutral, Anishnawbe and Haudenosaunee peoples and offering a formal expression of gratitude to them as our hosts.
[distribution of tobacco twists to elders and invited participants]
… Before handing over to William Wordworth to begin the remembrance and condolence ceremonies, I’d like to say a few words about why we have come together for this few days of sharing, learning and envisioning.
Western science tells us that the Earth is in the midst of a global extinction crisis. The biological extinction of life forms is accelerating rapidly and across the planet as a result of human activity. We are warned that this may be the beginning of a ‘6th mass extinction’ in which most existing life forms may be eliminated in a few centuries.
Yet there is little discussion of what ‘extinction’ means – it is simply assumed to mean the death of ‘every member of a species’. There are so many problems with this definition: not least the Linnaean mode of classification that has given us the concept of species or the more recent construct of ‘biodiversity’, both of which exclude myriad forms of life and relations and draw sharp boundaries between ‘living’ and ‘dead’ that confound the basic principles of so many living cosmologies.
Even the concept of extinction as the irreversible elimination of a life form effaces the ways in which relations ‘extinct’ life forms may continue through relations with the spirit world, through genetic entanglement, and through lived histories that extend across the imposed boundaries of ‘species’.
Crucially, all of these concepts embed deeply colonial ideas of ‘nature’ and human relations with it – from the early roots of conservation in the creation of national parks and the violent eviction of their human inhabitants, to contemporary forms of hyper-capitalist conservation in which ‘species’ and ‘ecosystems’ are traded, offset and financialized as commodities, severing relations of kinship and care.
These concepts furnished by Western secular science cannot capture the enormity of the global extinction crisis – and they mask the violent erasures that they create, including the crowding out of alternative accounts and ways of being-knowing.
Talking to colleagues and friends from different Indigenous communities, I’ve learned how loaded the term ‘extinction’ can be: it evokes colonial beliefs that Indigenous peoples are ‘extinct’, or headed for extinction. I can’t think of a less appropriate way to describe communities whose powerful, collaborative acts of survivance in the face of waves of crisis and violence epitomises the vibrancy of life and strength.
So, we need new terms, concepts and frameworks, but also stories, songs, images, dances, communities of intention – in a word, visions.
These visions must be expansive enough – both in timescale, geographical scale and the complexity they can embrace – to address the global extinction crisis (or whatever we want to call it!) They must reach back into the deep, ancestral past – and far forward into plural possible futures, while remaining grounded in the everyday experiences of multi-species communities in which we are all, differently, enmeshed. They must address the entangled vulnerabilities of Earthly life, rejecting sharp distinctions between humans and nature, living and dead, tradition and modernity.
What better place to look than the rich, vibrant multitude of living Indigenous philosophies and cosmologies?These cosmologies have survived, adapted and nurtured plural life-forms across millennia, negotiating and fostering life in the face of crisis. Indeed, for many Indigenous peoples, the apocalypse has already happened, with the advent of European colonisation. For several centuries, they have been responding, adapting and creating in the face of violence, rupture and destruction – not least the expropriation of their ancestral lands and the severance of their fundamental relations with specific places and beings.
This workshop builds on the intuition that Indigenous philosophy and cosmology can offer radically different approaches to understanding the global extinction crisis. It rejects the Cartesian, rationalist logic of classification and scientific management, instead embracing plural understandings of how humans and other beings form, sustain and care for multiple worlds here on Earth.
While ‘Traditional Ecological Knowledge’ – localizes Indigenous knowledge, Indigenous philosophies and cosmologies have much to offer in terms of wrestling with the global nature of this crisis, and should not be parochialized against the backdrop of apparently ‘universal’ Western scientific and governance perspectives. I certainly do not want to downplay the importance of connection to specific places and beings, but rather to explore the global significance of contemporary, living Indigenous thought. As Vine Deloria Jr and Rauna Kuokannen (amongst others) have argued, Indigenous knowledge tends to be instrumentalized, treated a source of empirical material that can be used to substantiate the claims of Western science and policy-making. Yet diverse bodies of Indigenous knowledge offer profoundly distinct cosmologies, frameworks, philosophies and spiritualities that are also abstract and transcendent, while remaining grounded in place and concrete experience. Moreover, the idea of ‘traditional’ knowledge imposes a linear, progressivist view of time which parcels it out neatly into past, present and future – and relegates Indigenous thought to the past. Instead, embrace multiple temporalities and are energised by Indigenous visions of multiple possible futures.
Our goal in this project is to engage a wide range of forms of Indigenous knowledge in order to identify resonances amongst them – NOT to find one universal, over-arching theory. In so doing, we hope to generate new insights and visions for apprehending the multiple dimensions of the global extinction crisis, decolonizing the structures of knowledge that dominate the way it is discussed, researched and governed, and cultivate creative, visionary responses to it.
The following images are from the exhibition “Cultural Projections” by Cara Loft. Cara is Aboriginal Recruitment and Outreach Officer for the Office of Aboriginal Initiatives at Wilfrid Laurier University. She is a Mohawk Woman from wolf clan and her home community is Tyendinaga First Nation. Cara holds a BA in Health Sciences and a postgraduate degree in International Development, with a focus on community development in First Nations communities in Ontario. She is an avid beader, a women’s traditional dancer and hand drummer. Cara is passionate about supporting aboriginal youth in Canada in all capacities possible, and her current work focuses on bolstering education, leadership & cultural pride. “Cultural Projections” highlights Cara’s experiences travelling through Aboriginal communities in Northern Ontario, with a focus on pathways and passages.
52.9259° N, 82.4289° W
Attawapiskat First Nation lies on the western side of James Bay. It is an isolated Cree community with a population of 1,549. Each December a Winter Road is constructed to connect the remote communities of Moosonee, Kashechewan, Fort Albany and Attawapiskat. Attawapiskat being the most northern and remote stop on the James Bay Winter Road. When driving on the Winter Road, the first view you see on the way into Attawapiskat in the Catholic Church sitting high on the hill top. This serves as a reminder of the colonization that took hold of the ‘People of the Parting Stone’ and continues to grip this community. This is reflected in the flagrant natural resources extraction from the open pit Victor Diamond Mine, located a mere 90 km from Attawapiskat.
43.7418° N, 7.4230° E
Beausoliel First Nation is spread across three Indian Reserves, the one pictured here is Christian Island located in Georgian Bay. The peoples of Christian Island largely depend on the ferry system to move back and forth to the mainland; and also move supplies onto the island. Recently one of the main passenger ferries, the 57 year-old M.V. Sandy Graham, was deemed unsafe and had to have $500, 000 worth of repairs to make it usable again. The other ferry, the Indian Maiden, is also in need of repairs as well. Pictured here, we see a community member using their own barge to transport equipment to Christian Island. According to the UN Declaration on the Rights of Indigenous People’s: “Indigenous peoples have the right to the lands, territories and resources which they have traditionally owned, occupied or other-wise used or acquired.” Without access to a working ferry, the peoples of Christian Island are at risk of losing their traditional territory and way of life.
48.6833° N, 85.6333° W
Pic Mobert is an Anishnabeg First Nation community composed of two small reserves located along the White River in Ontario: Pic Mobert North and Pic Mobert South. These rural communities have roughly 400 band members living on reserve. One of the staple foods in this community is the fish; providing both a practical source of food and cultural connection to the land and waters. Pictured here is a pike caught through the traditional practice of netting. An oasis in North Western Ontario; Pic Mobert is still considered an impoverished reserve without the proper health, education & social resources to address the issues within their communities. Despite these gaps, the cultural connection to land and water is strong and speaks to the resiliency of these communities.
Serpent River is an Anishnabeg community located along the North Shore of Lake Huron. The traditional territory of these peoples extends from the North Channel of Lake Huron, to just past the city of Elliot Lake. In 1847, uranium was discovered near Elliot Lake prompting the Chief at the time to demand protection from mining exploitation. Thus began the era of natural resource extraction from the Serpent River territory. Today, Serpent River is a modest community of 373 on reserve band members that sits quietly on the banks of Lake Huron. Despite a history of land misuse, the natural beauty of this territory is not lost today. Pictured here are the tree’s mid-fall in Serpent River.
Garden River First Nation is located near Sault Ste Marie and is a largely Anishnabeg community. With roughly 1,100 band members, this community sits mainly along the St. Mary’s River and Highway 17B passes through their traditional territory. There has been dispute over Highway 17B and its passage through the Garden River Community, mainly due to the deaths of community members on this road. In April of 2016, band members from Garden River closed down highway 17B for a day to highlight the meaningless accidents and tragedies that happen along this highway. Pictured here is the old rail bridge over Garden River, and a written affirmation of who the traditional title holders and protectors of this territory are.
Fish Friday Images by Zoe Todd
Zoe Todd is a lecturer in Anthropology at Carleton University. A Métis scholar from amiskwaciwâskahikan (Edmonton), her work spans the subjects of human-fish relations, Indigenous philosophy, feminism, art, and the important role of Indigenous legal orders within the legal pluralities that shape Canada. Her series of ‘Fish Friday’ images (posted every Friday on her website and Twitter account) explore the fish stories that and creatures that have shaped her more-than-human relations web of relations.
This online mini-exhibition is presented in advance of the initiation of the Anthropocene Re-working Group (with Zoe Todd), which will take place at the Conference “Landbody: Indigeneity’s Radical Commitments” at the Centre for 21st Century Studies, Milwaukee, 5-7 May 2016.
The full text of our presentation is available here: Earth violence text Mitchell and Todd
Since this is a work in progress, please let us know if you would like to reproduce it. For the same reason, all rights are reserved for the use of these images. . Contact me if you’d like to share, reproduce or alter them.
Since the early 2000s, there has been a scramble amongst scientists to define the boundaries of the ‘Anthropocene’. In the rush to mark and claim this era, hundreds of scientists and some social scientists are racing to find a definitive ‘golden spike’. The golden spike is a discursive, imagined, yet very real placetime in which scientists intend to drive a stake, claiming the conversion of the Earth into a human dominion. Most notably, the ‘Anthropocene Working Group’ of the subcommission on Quarternary Stratigraphy is planning this year to announce where/when the spike should be driven. It will choose amongst numerous proposals, including the detonation of the first nuclear weapons, the Industrial revolution, and the beginning of large-scale agriculture.
In so doing, this group of overwhelmingly white, male scholars of the physical sciences, whose meetings are closed to the public, plan to make a claim on behalf of ‘humanity’ over the history, future and fate of the planet.
Critics of the Anthropocene are producing excellent work on the domination of scientific perspectives amongst Anthropocene discourses,on Anthropocentric narratives that magnifies human agency and entrenches the human/nature divide, and the inaccuracies of claims that ‘humans’ as a whole are responsible for the phenomena transforming the Earth. Yet there has been little focus on the role of foundational violence in the Anthropocene and the distinctively colonial violence enacted through the forces re-shaping the Earth and the discourses arising to describe them. Recently, the geographers Mark Maslin and Simon Lewis have made an important contribution to this discussion. They argue that the beginning of the Anthropocene should be placed in 1492, the year when the colonization of what would become the Americas resulted in the genocide of Indigenous peoples. Maslin and Lewis focus on the ecological outcomes of this period of mass violence and expropriation.
Building beyond this, Zoe Todd and I are initiating a new artistic/performative/collective thought experiment focused on role of violence in the Anthropocene. We will be looking at multiple modes of violence, including the detonation of nuclear weapons and the slow violence of capital accumulation, industrialization and extinction. Each of these phenomena, central to the concept of the Anthropocene, are rooted in the historical/geological moments and trajectories of violence that are colonisation. To this end, we are inaugurating a public ‘Anthropocene Re-working Group’ whose goal is to explore the violences shaping the planet in open-ended, multi-media, multi-disciplinary ways (more on this to follow…)
To begin this project, I wanted to get my hands on some actual spikes to think and feel through the discourse of a ‘golden spike’. Engaging with these spikes allowed me to reflect on their materiality and their potential for violence. Handling them enabled me to sense their weight and shape, their utility as weapons, the intention of penetration with which they were forged, their appropriative nature, as the stakes through which claims to land and ‘resources’ are made. These particular spikes, salvaged from a defunct stretch of railroad, also evoked the violence of industrialisation, the expropriation of Indigenous lands across North America and the near-extinction of the American buffalo as a result of hunting from trains. Even their material basis is poignant: it brings to mind and hand the metals torn from soil and stone to fuel the demand for industrial resources and capital speculation.
I composed these images in order to encourage contemplation of the ‘golden spike’ as a central and meaning-multiplying embodiment of the impulse to mark and bound the Anthropocene. These are my initial responses to the idea of the golden spike and the intention to tell different stories about the violence of the Anthropocene. I hope that this nascent project will encourage and foster the exchange of many alternative stories, images and ideas.
This month’s post comes courtesy of E-IR. It offers some reflections on the discussions related to ‘posthuman security’ that have been brewing over the past couple of years. It is part of a series that also includes contributions from Elke Schwartz, Matt McDonald and (coming soon) Carolin Kaltofen. Thanks to Clara Eroukmanoff and the E-IR editorial team for putting this series together.
This article has also been published on Global Policy Journal’s blog.
Today hundreds of international studies scholars are gathering in Giardini Naxos, Sicily for the #9thPanEuropean Conference on International Relations. Our meetings take place on the shores of the Mediterranean, where according to the Missing Migrants Project, over 2700 people have died this year in attempted crossings. Many participants at the conference will be taking this opportunity to publicise the need for reform in the European Union (and elsewhere) that will provide safe, legal channels for immigrants and refugees – sign the petition here.
As part of this effort, convenors, organisers and participants will be discussing the migration and refugee crisis explicitly. I will be convening a section of panels and roundtables on the conference of ‘More-Than-Human-Worlds of Violence’. The text below is the introduction to this section:
I’d like to welcome you warmly to our section on “More-than-human Worlds of Violence”. This series of panels and roundtables is convening in order to explore how violence extends far beyond the boundaries of ‘humanity’.Today, we’ll hear fascinating new work on subjects ranging from the environments shaped and constituted by violence, to the sensory dimensions of posthuman warfare, the circulation of violence through animal bodies and the intersection of posthumanism and security. In each of these sessions, we’ll push the boundaries of how violence is understood, approached and mediated through international politics. We’ll rethink the concept of ‘international relations’ as the global set of relations that emerge between diverse forms of being. And, as the conference theme prompts us, we’ll examine the distinctive ‘worlds’ of violence that emerge from these relations, challenging our ontological assumptions and ethical imperatives.
As we know, there is an urgent ethical imperative unfolding in the particular world in which we find ourselves: the beautiful coast of Northeastern Sicily. We are flanked by the Mediterranean ocean, in which thousands of refugees from across the Middle East and North Africa have died in attempted crossings. How can our work on more-than-human international relations help us to engage more actively with their struggles?
Please have a look at the image above, which was created by the artist and activist Ramzi Harrabi from his project ‘Uprooted’, which was originally exhibited at the European Parliament in Strasbourg, and more recently at the Anime Migrante festival in Siracusa (please see more info on Ramzi and his work below).
What immediately strikes us in Ramzi’s painting is the elemental power of the water. At first, it seems to engulf and consume the human figures, to threaten and overwhelm them. Yet, at the same time, it enables a mode of mobility that allows them to escape unliveable conditions in their homes and the hard borders of territorial boundaries imposed by states and the European Union.
The water is an ambiguous material-temporal space that batters and floods the striated space of states and sovereignty. It is a space in which the politics of territoriality and the poetics of flow shape the futures of the voyagers in unpredictable ways. The currents, winds, tides and weather of the sea can determine whether a boat arrives safely or is submerged, and where its inhabitants land. So, the refugees are in a constant tactical battle not only with the strictures of territorial sovereignty but also from the tumultuous aquatic space into which this power forces them by denying safe, legal passage on land.
Yes, they are dwarfed and endangered by the sea, but they are not merely drifting. They are also lively beings engaged in an oceanic negotiation, attempting to harness the dynamism of the water, embracing its fluidity and force while attempting to escape its violence.
As Ramzi told me, his boats “carry a political message of hope and dignity. The multi-coloured skies tell us that migrants have a dream”
So, to understand not only the plight of refugees, but also their hopes, the modes of agency they employ, and the politics of their struggle, we need to pay more attention to their relations with the sea. This does not only mean focusing on traditional geo-politics – that is, on the so-called ‘natural’ borders created by bodies of water. Rather, it means attending more closely to this oceanic space,the unique conditions it imposes and opens, the relations the voyagers forge with it and the powerful forms of agency the exert as they try to make their way towards safe harbours and new futures.
I offer these observations as a provocation, to get us thinking and talking about this issue, and about how being humanitarian – and human – means engaging with the more-than-human -and how a more-than-human perspective can allow us to move beyond the sometimes disempowering effect of humanitarianism.
Let’s keep these crossings, the people who make them and the seas they traverse in our minds as we enjoy our discussions.
ABOUT THE ARTIST
Ramzi Harrabi is a Tunisian artist, activist and lecturer. He is the founder and director of the Intercultural Studies Center and the President of the Immigrants Council for the Province of Siracusa, Italy. Ramzi also manages many projects related to integration and migration, as well as teaching intercultural communication, Arabic language and the history of Islam throughout Italy. Ramzi recently worked as a member of the Tunisian independent elections authority in Italy. His poems were awarded the Italian national prize (premio Maria Marino) and one of his paintings won the second prize at the European Tendari Festival. In 2008, Ramzi was among the finalists for the Euro-Med award, organised by the Anna Lindh Foundation, obtaining a special mention for promoting intercultural dialogue in the Euro-Mediterranean region.