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Alexander Cummins (Independent scholar)
Esther Eidinow (University of Bristol)
Peter Grey (Scarlet Imprint)
Geraldine Hudson (Independent scholar)
Richard Irvine (St Andrews University)
Sophie Lunn-Rockliffe (University of Cambridge)
Josephine McCarthy (Quareia Publishing)
Charlotte Rodgers (artist)
Sabrina Scott (York University, Toronto)
Merlin Sheldrake (Independent scholar)
Isabelle Stengers (Université Libre de Bruxelles, Belgium)
'Magic and Ecology': symposium and art exhibition brings together historians, philosophers, and anthropologists of magic with environmental scientists, ecological thinkers, and practitioners of contemporary magical techniques. In recent decades ecological thinkers and cultural theorists Isabelle Stengers, Jane Bennett, and Timothy Morton have given critical attention to magic and to the way in which it operates as a technique for paying attention to things and to clarifying, rather than confusing, human dependence on the other-than-human that is also more-than-us. Such magic is seen as a counter-force to the powers of capitalist “sorcery” and an alternative to the mindless enchantments of modernity; it is interested in the practical (ethical, political) consequences of not only “including” the nonhuman in one’s circle but working with them, “invoking” and recognizing dependence on them. An entirely new politics of the nonhuman opens up at this point, one that is distinctly non-secular even as it persists on the fringes of “theological” respectability. It is a question of approaching nonhumans as formidable agents and figuring out, from there, how best to make oneself attractive as potential working-partner in their eyes. What changes - modifications to human lifestyles, habits of consumption - must be attended to first before setting up the working space and invoking the other?
Magic and ecology have a long and entangled history. Western magic historically has been concerned with discerning connections between the human (microcosm) and the world (macrocosm), and modern magic (in similarity with many types of folk magic) especially digs deeper into these efforts of discernment by encouraging practitioners to work with all sorts of objects: not only specially designed props or celestial talismans but ordinary everyday things. Thinking with that tangled history and bringing it to light is the purpose of this event. We look at magic and ecology from the perspective of ancient practices as well as contemporary expressions, where the turn towards the magical in recent ecological thinking responds to a well-established tradition of environmental activism, art, and writing by magical practitioners, among them Starhawk, David Abram, Rae Beth, Josephine McCarthy, Sabrina Scott, and Charlotte Rodgers. Magic here becomes, as Isabelle Stengers has argued, a practice of “attention,” or, as Timothy Morton has put it, of “attunement,” a way of looking receptively (“openly”) rather than selectively,“attuning” to what there is and noticing it, as just as it is. These thinkers propose that living ecologically cannot be about saving some things to the exclusion of others (that would be tyranny, not ecology) but about attending to the connections between this thing and that, and between oneself and everything one touches and thinks about, in such a way that things can be felt and responded to, regardless of their supposed value.
The suggestion, coming now from cultural theory, that really useful and effective ecological thinking is more like magic than the policies usually referred to as environmental is at the heart of this event. Challenging the secular normativity of ecological thinking, 'Magic and Ecology' also aims to confront the religious normativity of ecological spirituality. It considers the resources of magic, animist ontologies, occulture, earth-based religions and minor spiritualities often overlooked by mainstream eco-theology and environmentalism alike and thinks the critical potential of “spirituality” from the perspective of its own insurgents. 'Magic and Ecology' aims to give a clear sense for the decolonizing effect of magic not only as it confronts Western society from without, but also as it disrupts Western society from within. 'Magic and Ecology' proposes that disdain for magic has produced a distorted rather than enlightened sense of the nonhuman world. In a step towards redressing this state of affairs, this symposium and art exhibit examines the ecological thinking in magic, in order to test the hypothesis that magic is not only a misunderstood phenomenon in industrialized society but an experimental technique inviting a politics of invocation and working-with that is much needed today.
Animist Art Action: Sculptures by Charlotte Rodgers
UK-based artist Charlotte Rodgers is an animist, artist and author who works with remnants of the dead and the discarded to create talismanic and totemic art. Her work has been exhibited internationally, at galleries in the UK and US, and two of her sculptures recently won the competition to be exhibited at The Second Triennial of Self-Taught Visionary Art, Art Pavilion, Cvijeta Zuzoric in Belgrade, 2020. Rodgers writes: “Everything holds life-force, energy and potential. I work with the memory held in remnants of the dead, the forgotten,the discarded and the rejected. I honour these memories through acknowledgment, then use the past as a foundation for new directions and realities.” Rodgers also gives talks and has collaborated in numerous workshops, and is the author of The Sky is a Gateway, Not a Ceiling: Blood, Sex, Death, Magick and Transformation (2014), and The Bloody Sacrifice: A Personal Experience of Contemporary Blood Rites (2011), which chronicles her use of road kill and blood in art, ritualized scarification, tattoo work and magic.
Centre for Research in the Arts, Social Sciences and Humanities (CRASSH)
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