Articles from:December 2022

  • Ecopsychology, Ecopsychosis, Indigenization: Reciprocal Healing Between Humans and Nature

    Creative engagement with nature is a good way to begin to address ecopsychosis

    Contributor: David Fancy


     Reciprocal healing between humans and the earth involves the simultaneous and mutually informed pursuit of human as well as wider environmental health, wellness, and renewal. In other words, human health and wellness occurs in a broader ecological and environmental context, and, for better or for worse, given the current climate crisis, ecosystem health is in many cases dependent on human’s ability to foster beneficial relationships with ecosystems.  

    Researchers have coined the term “ecopsychosis” to describe the pathological and deeply dysfunctional relationship between humans and ecosystems played out in many contemporary societies. This sickness-inducing relationship is predicated on the faulty notion that, as humans, we are somehow separate from one another and from the planet in ways that relieve us from responsibility towards one another, towards other beings, and towards the Earth. Addressing and healing pervasive ecopsychosis affecting many humans and many human cultures is central to the work of reciprocal healing, and to the continued sustainability of human life on the planet. 

    From an ecopsychological perspective, it is important to emphasize that the human psyche has emerged and developed in deep entanglement with the natural world. Humans have spent 99.97% of their existence as a species as hunter gatherers, and much of the remaining 0.3% as tribal pastoralists. Only approximately 0.0002% of our time as a species has been spent during the modern industrial and post-industrial eras in which the current ecopsychosis and separation from “nature” has come to the fore, especially for those living in the Economic North. 

    Many ecopsychologists advocate, with full recognition of the political complexities and nuance that this will entail, that humans living in the industrialized world who have benefitted the most from the exploitation of natural and human resources need to re-Indigenize their relationship with the natural world. Unlike relationships with nature in industrialized regions, Indigenous relationships with nature are often characterized by: 1) ongoing daily exposure to nature, 2) perpetual embodied relationships with nature through walking, moving, hunting and so forth, and 3) by the creation of cultural artefacts such as tools, housing, or artistic production patterned from the natural world around them.  

    Of additional significance from an ecopsychologically informed perspective is the idea that for much of human history, nature was encountered subjectively. In other words, nature was personal, was a location for the interpretation of patterns and meanings that had significance for individuals and for groups. This allowed our collective ancestry the ability to retain flexibility and resilience in a natural world marked by continuous cyclical changes. The compartmentalization and professionalization of scientific knowledge about nature in contemporary societies has contributed to the alienation many people experience in the face of the natural world. 

    How to achieve these complex connection, relation, and interrelation that are integral to the process of re-Indigenization that can help thwart the ecopsychosis fueling the climate crisis? Much research has begun to demonstrate what ancestral and Indigenous cultures already know: that time in nature reduces chronic stress, assists in emotional regulation, intensifies healthy attachment, nourishes the development of a coherent sense of self and increases respectful understanding of the natural world. Time in nature is a particularly good way to begin to address ecosychosis and the many problems it engenders in turn. 

    Categories: Beyond Sustainability Blog

  • Why the Arts are Integral to a Sustainable Future

    Ecological Art seeks to draw attention to environmental themes.
    Contributor: David Fancy 


    There are diverse ways in which the arts can be integral to a future sustainable for continued human life on earth. These may take the form of using art to draw attention to the climate crisis or art practises involving collective responses to the climate crisis. Responding to the climate crisis might also manifest as art practises imagining revolutionary and loving futures in which supremacy logic, greed, and materialism are not as central to the many human societies which they are now. One element that is shared across these approaches is the following premise: that the environmental crisis is not simply the result of scientific failure, the faults in several types of government policy or in economic practices. Instead, underpinning all these challenges is the notion that the climate crisis represents fundamental failures of imagination. These failures result from profoundly maladapted understandings of kinship and connection between human and other-than-human entities in the complex networks of which humans are embedded. In short, and in response: the arts can permit us to imagine kinship, connection, and relationship differently in such a way that can be integral to sustainable futures for humans on this planet.  

    Geoartistry explores how other-than-human entities create artistic effects.

    Although different modes of artistic creation across many cultures provide models of complex relationships between human and other-than-human, we can focus briefly here on three overall types of art practice. The first of these, broadly speaking, is Eco-Art or Ecological Art. These practices—in painting, performance, dance, installation, storytelling, or other genres—regularly seek to draw attention to environmental themes, the need for healthy ecosystems, and humans’ negative impacts on these ecosystems. For example, the Brooklyn-based group STUDIOCKA installed a towering multi-story blue whale entitled ‘Skyscraper’ made of plastic garbage in a canal in Bruges, Belgium. By using 5 tonnes of recovered materials collected from shorelines around the world, the artist collective foregrounded that this amount of plastic represents only 0.00000003 % of the estimated total amount of plastic on shorelines around the world.1  

    A second type of practice falls under the rubric of Nature Art, in which natural materials are used to draw attention to their beauty and  encourage the awareness of subtle interconnections between human and natural expression. Andy Goldsworthy’s often sprawling nature installations in the English countryside2 or Anna Rakitina’s paintings of the human body as they map on floral or other forms of patterning3 are excellent examples of Nature Art. In many ways Nature Art is by no means a new phenomenon; many forms of Indigenous expression have existed before Nature Art emerged as a category from creative practices in the Economic North. 

    A third category of practice can be described as geoartistry, or the recognition that natural systems may also generate aesthetic effects and sensations not simply for the purposes of human enjoyment, but for their own sake, or for the enjoyment of other non-human animals and entities. Geoartistry serves as an invitation to help humans move beyond their species narcissism and to wonder: do other creatures experience beauty, do other species generate aesthetic experience for its own sake?  

    Each of these modes of creation—from Eco-Art, Nature Art, Geoartistry, and beyond—are all part of the work of creating a new earth and a new people to come. 


    Reference: 

    Duncan, R. (2018). Systemic Thinking and Imagination in Ecopsychology and Mental Health. Routledge. NY. 

    Categories: Beyond Sustainability Blog