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4 - Our Relationship with the Land

An Ecology of Perception

from Part I - Challenges

Published online by Cambridge University Press:  16 March 2023

Sandy Lamalle
Affiliation:
Concordia University, Montréal
Peter Stoett
Affiliation:
Ontario Tech University
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Summary

How do we perceive the rest of nature meaningfully from the vantage point of our manufactured spaces? Whether the life teeming in a tropical forest, or surviving tenaciously on the remote reaches of the planet, we impact life that we probably never see first-hand. Our impact is from the manifestation of our nature, which is creative, industrious and prolific. Unfortunately, our impact threatens the stability of the only biosphere we can call home. How can human nature be connected to instead of orphaned from the rest of nature? No matter how much data we acquire about the crises we create for ecosystems, there remains tremendous inertia to apply the principal remedy: changing our behaviour. This implies the necessity to expand our focus from quantitative deduction of the problem and solutions, to ensuring we have the inner connections and relationships necessary for qualitative response to environmental stress. Does art create this sensitive bridge?

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Chapter
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Publisher: Cambridge University Press
Print publication year: 2023

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References

Primary Sources

Cascade de Lumière, experimental docudrama, 23’, 2008. Official selection, Rendezvous du Cinema Quebecoise 2008; Vancouver international, Mountain Film Fest; Moondance; Wild and Scenic Environmental Film Fest, broadcast on PBS; Winner, second place, MITY award, Dawson City International Short Film Festival.Google Scholar
Chasms of Silence, Berkman, Folio Gallery/ Waterous, 1999, ISBN 0–9680175–4-1: limited edition portfolio of high arctic black-and-white landscape photography, with a foreword by poet and novelist Anne Michaels (finalist, Banff Mountain Book Awards, 2000).Google Scholar
The Ecology of Perception (2017) presentation, and solo exhibit of S3D interactive video and anaglyph works (Hart to Heart; Remote Sensibility V, projection intérieur projection, Abimes de Silence, Murs Intérieurs, Le Chevalet) curated by Sandy Lamalle, 2017 UNESCO World Humanities Conference (Challenges and Responsibilities for a Planet in Transition), Liége, Belgium.Google Scholar
Hart to Heart (2015) interactive S3D video installation (20’): Available Light Film Festival, Yukon Arts Centre; curated by Andy Connors, ISEA (International Symposium of Electronic Arts) Vancouver, BC; ‘In It’ VR showcase – Confluence Gallery, Emily Carr University, Vancouver, BC; curated by Maria Lantin; ‘Mountain Art’ – Walter Phillips Gallery, Banff Centre, AB. Curated by Jen Mizuik.Google Scholar
Remote Sensibility VIII: The Ecology of Perception (2019) multichannel, parallelogram and interactive S3D video installations, Yukon Arts Centre Gallery, curated by Mary Bradshaw.Google Scholar
Three Rivers, documentary, Canadian Parks and Wilderness Society, 20’, 2004. See my website www.martenberkman.comGoogle Scholar

Secondary Sources

Alexander, C. (1977). A Pattern Language: Towns, Buildings, Construction. Oxford: Oxford University Press.Google Scholar
Council of Yukon First Nations: Nations, History. See the website http://cyfn.caGoogle Scholar
Hudson, K., 2 ways of knowing: The power of linear and circular thinking. See the website https://2wkblog.com/Google Scholar
Peepre, J. (2005). Three Rivers: The Yukon’s Great Boreal Wilderness, Harbour Publishing.Google Scholar
Robertson, P. (2004). Three Rivers/Wild Waters, Sacred Places, Exhibition catalogue, Yukon Arts Centre, Whitehorse, Yukon.Google Scholar
Yukon Land Use Planning Council. www.planyukon.caGoogle Scholar

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