ECOLOGY WITHOUT NATURE: How We Wrote Hyposubjects

Tuesday, December 8, 2015

How We Wrote Hyposubjects

It was a really interesting experience. We did it as a dialogue, over the course of a few months. I've never written a book in that form before, and it was actually a very good way to put it together. The live-ness of doing a dialogue really helped. I understand that Delouse and Guattari did a sort of Lennon and McCartney where one of them would write something and the other would then respond--others know better than me how in the moment that was, but that's my understanding. Of course the Beatles did it facing each other and so did Dominic and I...we are, needless to say, not the Beatles...

1 comment:

Anonymous said...: That sounds like a time honored parlour game method of writing. The Dadaists's hangman was sort art construted such, the contribution and letting go, biodecay art similar, I think Jane Austen's friends may have added to her letters Yes Lennon and McC. The palimpsests sometimes reveal iterations of Quinian monkey programs typing sonnets in Chinese to possible others of the same species of code. I tried to write a novel in such manner with a friend about the Golden Dawn (not the Greek one) and the 20s moderns once. The most straightforward of the New York School poets (not Ash of course) loved his collaborations as did Derrida.

Can the hyposubject speak? (With appy-polly-gees to Prof. Spivak); December 8, 2015 at 5:18 PM

Timothy Morton

Timothy Morton is Rita Shea Guffey Chair in English at Rice University. They have collaborated with Laurie Anderson, Björk, Jennifer Walshe, Hrafnhildur Arnadottir, Sabrina Scott, Adam McKay, Jeff Bridges, Justin Guariglia, Olafur Eliasson, and Pharrell Williams. Morton co-wrote and appears in Living in the Future’s Past, a 2018 film about global warming with Jeff Bridges. They are the author of the libretto for the opera Time Time Time by Jennifer Walshe. Morton has written All Art Is Ecological (Penguin, 2021), Spacecraft (Bloomsbury, 2021), Being Ecological (Penguin, 2018), Humankind: Solidarity with Nonhuman People (Verso, 2017), Dark Ecology: For a Logic of Future Coexistence (Columbia, 2016), Nothing: Three Inquiries in Buddhism (Chicago, 2015), Hyperobjects: Philosophy and Ecology after the End of the World (Minnesota, 2013), Realist Magic: Objects, Ontology, Causality (Open Humanities, 2013), The Ecological Thought (Harvard, 2010), Ecology without Nature (Harvard, 2007), 8 other books and 250 essays on philosophy, ecology, literature, music, art, architecture, design and food. Morton’s work has been translated into 10 languages. In 2014 they gave the Wellek Lectures in Theory.

“Outstanding.”
—Slavoj Zizek, In Defense of Lost Causes

“Dark ecology has the potential to be the punk rock or experimental pop of ecological thinking.”
—Kasino A4

“It isn’t [nature] itself that needs trashing — we’re doing a fine job of that already; it’s our way of thinking about it that needs to be structurally realigned ... it's an important book that, in a scant 205 pages of main text ... frames a debate that no doubt will be carried on for years to come.”
—Vince Carducci, Pop Matters

“He practices what he theorizes: nothing is wasted in his argumentation.”
—Emmanouil Aretoulakis, Synthesis

“Picking up where his most obvious predecessors, Gregory Bateson and Felix Guattari, left off, Morton understands mental ecology as the ground zero of ecological thinking, as that which must be redressed before anything else and above all. Morton goes beyond both his forebears, however, in repairing the rift between science and the humanities, which the Enlightenment opened up and against which Romanticism reacted. Perhaps most pleasantly surprising, given its erudition, is that in its stylistic elegance The Ecological Thought is as satisfying to read as it is necessary to ponder.”
—Vince Carducci

ECOLOGY WITHOUT NATURE

Tuesday, December 8, 2015

How We Wrote Hyposubjects

1 comment:

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