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<h3 align="center" style="text-align:center;line-height:13.5pt;background:white">
<span style="font-family:"Calibri",sans-serif;color:black">Special Issue CFP: Issue 30<o:p></o:p></span></h3>
<h2 align="center" style="text-align:center;line-height:15.0pt;background:white;font-variant-ligatures: normal;font-variant-caps: normal;orphans: 2;widows: 2;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="font-size:15.0pt;font-family:"Calibri",sans-serif;color:black">Concepts for Action in the Environmental Arts<o:p></o:p></span></h2>
<p style="text-align:justify;background:white;font-variant-ligatures: normal;font-variant-caps: normal;orphans: 2;widows: 2;-webkit-text-stroke-width: 0px;word-spacing:0px">
<b><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Co-editors</span></b><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">: Grayson Cooke, Warwick Mules, Erika Kerruish and David Rousell<o:p></o:p></span></p>
<p style="text-align:justify;background:white;font-variant-ligatures: normal;font-variant-caps: normal;orphans: 2;widows: 2;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">This special issue seeks contributions from scholars who are developing innovative conceptualisations, strategies and practices for the environmental arts. Such critical reconceptualisations
of the field are urgently called for in response to mounting evidence that we have entered the Anthropocene epoch, a time typified by climate change, catastrophic loss of biodiversity, ecological instability, resource depletion, ubiquitous digitisation and
rapid advances in biotechnology and computer science. In revealing the profound entanglement of human culture and natural phenomena in the contemporary world, the advent of the Anthropocene has had a destabilising effect on dualistic philosophies and binary
logics that have upheld rigid barriers between the human and the nonhuman, the organic and the inorganic, the natural and the artificial, the social and the material. New concepts are called for that can mobilise creative thinking and action outside of such
anthropocentric and humanistic frameworks, and mobilise new practices that are both attuned and responsive to the rapidly changing environmental conditions of everyday life.<o:p></o:p></span></p>
<p style="text-align:justify;background:white;font-variant-ligatures: normal;font-variant-caps: normal;orphans: 2;widows: 2;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">This special issue further aims to establish a theoretical toolkit of conceptual resources that can provoke, incite and in-form experimental practices in the environmental arts. We define
the environmental arts broadly for this purpose, with a particular emphasis on modes of thinking, feeling, sensing, designing, making, performing and composing that are attuned to environmental change and are inherently collective in nature. In this respect
environmental artists have often been years and even decades ahead of others in responding to the conceptual and practical challenges of the Anthropocene. Since the 1960s, artists such as Robert Smithson, James Turrell, Robert Irwin, Helen and Newton Harrison,
Joseph Beuys and Suzanne Lacy have enacted visionary environmental practices, while also conceptualising these practices within the broader fields of social theory and philosophy. The capacity for environmental artists to effectively respond to the Anthropocene
is also apparent in the direct modes of address through which they are able to materialise new philosophical concepts in public space. For instance, rather than attempting to change public opinion about the environment and thus alter people’s behaviour, artists
tangibly create new environments, artefacts and encounters that directly affect social perception, imagination and experience. jan jagodzinski (2015, p. 127) has described this as the unique capacity for the arts to operate as an ‘avant-garde without authority’,
working at the cutting edge of social, political and environmental transformation without making claims to disciplinary authority or truth.<o:p></o:p></span></p>
<p style="text-align:justify;background:white;font-variant-ligatures: normal;font-variant-caps: normal;orphans: 2;widows: 2;-webkit-text-stroke-width: 0px;word-spacing:0px">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">In this spirit, we invite abstracts that may address the following areas of theoretical and conceptual inquiry:<o:p></o:p></span></p>
<ul type="circle">
<li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">Posthumanist conceptualisations of the environmental arts that account for the multiple ecologies of everyday life in the Anthropocene (Braidotti, 2013) and avoid reduction to subject/object schemata
(Benjamin, 1999).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">Theorisations of matter and materiality as agentic in relation to creative practice, thought and experience (Barratt & Bolt, ed. 2013; Barad, 2007).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">Responses to the geological turn in the environmental arts (Ellsworth & Kruse, 2012), including those influenced by geo-philosophy (Deleuze & Guattari, 1987) and the geology of media (Parrika, 2015).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">The environmental arts as an applied and activist philosophy involving the composition, activation and mobilisation of concepts (Massumi, 2011).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">New conceptualisations of technology, technique and technicity through the environmental arts, including those associated with social technologies (Stengers, 2005), virtual technicities (Manning,
2013), and technics (Steigler, 1998) and technologies of the self (Foucault, 1986).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">The capacity for speculative fictions and geo-poetics to evoke new social worlds and a politics to come (Shaviro, 2014; Bogue, 2011; Negarestani, 2008).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">Interspecies communication and collaboration in and through the environmental arts (Garoian, 2012).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">The changing nature of public participation through and with the environmental arts, including their pedagogical affordances as places of learning (Ellsworth, 2005).<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">Concepts for new formations of sense (Ranciere, 2010) to break from neoliberal, market-based world views of the environment predicated on ecological sovereignty.<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:justify;mso-list:l1 level1 lfo3;background:white">
<span style="font-size:8.5pt;font-family:"Verdana",sans-serif">New concepts of being-with and care (Nancy, 2000; Foucault, 1986) to replace the control and efficiency models of biopolitics and governmentality that currently define environmental policies and
public debate.<o:p></o:p></span></li></ul>
<p style="text-align:justify;background:white;font-variant-ligatures: normal;font-variant-caps: normal;orphans: 2;widows: 2;-webkit-text-stroke-width: 0px;word-spacing:0px">
<b><u><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">References</span></u></b><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black"><o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Barad, K. (2007).<span class="apple-converted-space"> </span><i>Meeting the Universe Halfway: Quantum physics and the entanglement of matter
and meaning.</i><span class="apple-converted-space"> </span>Durham, NC: Duke University Press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Barrett, E., & Bolt, B. eds. (2013).<span class="apple-converted-space"> </span><i>Carnal Knowledge: Towards a ‘New Materialism’ through
the Arts.<span class="apple-converted-space"> </span></i>London, UK: I.B. Tauris.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Benjamin, W. (1999). ‘Little History of Photography’, trans. Edmund Jephcott and Kingsley Shorter in<span class="apple-converted-space"> </span><i>Walter
Benjamin, Selected Writings, Volume 2, part 2, 1931-1934</i>, ed. Michael W. Jennings, Howard Eiland, and Gary Smith, The Bellknap Press of Harvard University Press, Cambridge, Mass., pp. 507-530.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Bogue, R. (2011). Deleuze and Guattari and the Future of Politics: Science fiction, protocols and the people to come.<span class="apple-converted-space"> </span><i>Deleuze
Studies, 5</i>, 77-97.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Braidotti, R. (2013).<span class="apple-converted-space"> </span><i>The Posthuman</i>. Cambridge, UK: Polity Press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Deleuze, G., & Guattari, F. (1987).<span class="apple-converted-space"> </span><i>A Thousand Plateaus: Capitalism and Schizophrenia.</i><span class="apple-converted-space"> </span>Minneapolis:
University of Minnesota Press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Ellsworth, E. (2005).<span class="apple-converted-space"> </span><i>Places of Learning: Media, architecture, pedagogy.</i><span class="apple-converted-space"> </span>New
York: Routledge.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Ellsworth, E., & Kruse, J. (Eds.). (2012).<span class="apple-converted-space"> </span><i>Making the Geologic Now: Responses to the material
conditions of everyday life</i>. Brooklyn, NY: Punctum Books.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Foucault, M. (1986).<span class="apple-converted-space"> </span><i>The Care of the Self: the History of Sexuality, Volume 3</i>, trans.
Robert Hurley, Penguin, London.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Garoian, C. R. (2012). Sustaining Sustainability: The pedagogical drift of art research and practice.<span class="apple-converted-space"> </span><i>Studies
in Art Education, 53</i>(4), 283-301.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Jagodzinski, j. (2015). Affirmations and Limitations of Ranciere’s Aesthetics: Questions for art and its education in the Anthropocene.
In Snaza, N., & Weaver, J. (Eds.).<span class="apple-converted-space"> </span><i>Posthumanism and Educational Research<span class="apple-converted-space"> </span></i>(pp. 121-133). New York, NY: Routledge.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Manning, E. (2013).<span class="apple-converted-space"> </span><i>Always More Than One: Individuation’s dance.</i><span class="apple-converted-space"> </span>Durham:
Duke University Press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Massumi, B. (2011).<span class="apple-converted-space"> </span><i>Semblance and Event: Activist philosophy and the occurrent arts</i>.
Cambridge: MIT Press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Nancy, Jean-Luc. (2000).<span class="apple-converted-space"> </span><i>Being Singular Plural</i>. trans. Robert D. Richardson and Anne
E. O’Byrne, Stanford University Press, Stanford.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Negarestani, N. (2008).<span class="apple-converted-space"> </span><i>Cyclonopedia: Complicity with anonymous materials.</i><span class="apple-converted-space"> </span>Melbourne:
re.press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Parrikia, J. (2015).<span class="apple-converted-space"> </span><i>A Geology of Media</i>. Minneapolis: University of Minnesota Press.<o:p></o:p></span></p>
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J. (2010).<span class="apple-converted-space"> </span><i>Dissensus: on Politics and Aesthetics</i>, trans. Steven Corcoran, Continuum, London.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Shaviro, S. (2014).<span class="apple-converted-space"> </span><i>The Universe of Things: On speculative realism.</i><span class="apple-converted-space"> </span>Minneapolis:
University of Minnesota Press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Steigler, B. (1998). <a href="https://en.wikipedia.org/wiki/Technics_and_Time,_1" title="Technics and Time, 1"><i>Technics and Time, 1:
The Fault of Epimetheus</i></a>. Stanford: Stanford University Press.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Stengers, I. (2005). Introductory Notes on an Ecology of Practice.<span class="apple-converted-space"> </span><i>Cultural Studies Review</i>.
11 (1), 183-196.<o:p></o:p></span></p>
<p style="text-align:justify;background:white"><span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black"><o:p> </o:p></span></p>
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<b>Abstracts</b><span class="apple-converted-space"> </span>(200-400 words) are due 18<sup>st</sup><span class="apple-converted-space"> </span>November 2016, with a view to submit articles by 31<sup>st</sup><span class="apple-converted-space"> </span>March
2017.<o:p></o:p></span></p>
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<span style="font-size:8.5pt;font-family:"Verdana",sans-serif;color:black">Abstracts should be forwarded to:<o:p></o:p></span></p>
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<p class="MsoNormal" style="background:white"><span style="font-size:9.0pt;color:#999999;mso-fareast-language:EN-AU">Dr Erika Kerruish I School of Arts and Social Sciences I Southern Cross University I Locked Mail Bag 4 I Coolangatta Qld 4225 I Ph: 07 5589
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