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Planetary Imaginations and the Anthropocene:Tracing Geoaesthetic Acts between 1968-1972

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  1. Tez No: 720223
  2. Yazar: BENEK CİNCİK
  3. Danışmanlar: Belirtilmemiş.
  4. Tez Türü: Doktora
  5. Konular: Antropoloji, Anthropology
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2021
  8. Dil: İngilizce
  9. Üniversite: The Unıversıty Of Edınburgh
  10. Enstitü: Yurtdışı Enstitü
  11. Ana Bilim Dalı: Belirtilmemiş.
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: Belirtilmemiş.

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Özet (Çeviri)

This dissertation investigates the rise of planetary thinking and geologic imaginaries that are instigated by the Anthropocene in the late 1960s and early 1970s through their reflections in art and architecture. I examine the discursive traces and speculative imaginaries – those that underpin the contemporary Anthropocene - in the planetary aesthetic that gained an impetus with the rise of the“Whole Earth”discourse throughout the period between 1968 and 1972. I aim to reveal a prehistory of emerging Anthropocene aesthetics through offering a critical analysis and comparative reading of Michael Snow's La Région Centrale (1971), Superstudio's The Continuous Monument (1969) and Robert Smithson's Spiral Jetty (1970). I position these works as what I define as geoaesthetic acts: as cultural manifestations that take the Earth as their subject matter and focal point and that I contextualise within the Anthropocene both as a material and discursive framework. I mainly argue that by taking the Earth as a site, scale and aesthetic condition- as architects Rania Ghosn and El Hadi Jazairy put it-, these geoaesthetic acts foreground planetary imagination and point towards an Anthropocenic aesthetics. This dissertation responds to the question of which representations of Anthropocenic thinking in art and architecture can play a similar preliminary role as Las Meninas (1656) does in Michel Foucault's analysis in The Order of Things: An Archeology of Human Sciences (1970). For Foucault, Las Meninas is a painting which testifies to an epistemic rupture between the Classical and Modern and identifies the emergence of the figure of man as an epistemological consciousness upon which the new form of knowledge, the modern episteme will be founded. I map Foucault's Las Meninas analysis as a conceptual and methodological guide by focusing on the relationship he builds between an epistemic shift and conditions of representation. The Anthropocene implies an epistemological shift that challenges the central positioning of this figure of man in the Modern episteme and points to its dissolution both on conceptual and material terms. In this regard, I argue that La Région Centrale, The Continuous Monument and Spiral Jetty as a representational assemblage plays a similar inaugural role to Las Meninas in terms of identifying an epistemological shift, and foreshadows an Anthropocenic aesthetics by decentering and dissolving the figure of man in relation to planetary and geomorphological forces. In particular, I reveal how these three geoaesthetics acts respond to the expansion of spatiotemporal frames of analysis and

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