Dank - Final Essay 2

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Anthropology

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Jan 9, 2024

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Dank 1 Dawn Dank Professor Freed-Thall CORE - UA 400 05/05/23 Aesthetic Practices in Nature In Anna Tsing's book, The Mushroom at the End of the World , we are introduced to the captivating world of matsutake mushrooms, a delicacy that is highly prized for its distinct flavor and rarity. These mushrooms grow in damaged oak/pine forests throughout Asia, China, and the Pacific Northwest of the United States, and are traded in complex global markets that are both lucrative and turbulent. Tsing's ethnography is a bold exploration of postmodernist anthropological theory that provides a unique perspective on this fascinating phenomenon. Rachel Carson's The Edge of the Sea , on the other hand, has had a profound impact on the way we view ocean ecology, sparking a public fascination with all things oceanographic that has come to be known as "Carsonalia". Her work not only educates us on the beauty and complexity of marine life but also inspires us to appreciate and protect it. In Robert MacFarlane's Landmarks , he introduces us to the practice of ecological collecting, which involves observing and recording the natural environment, including species, ecosystems, and geological formations. This practice encompasses field research, specimen collection, and nature journaling, among other activities. Together, these works demonstrate a shared connection to aesthetic practices, which involve the perception and creation of beauty through creative methods. By examining these texts in the context of aesthetic practices and the art of noticing, we can see that sustainable

Dank 2 gathering and creative techniques offer a valuable opportunity to escape the constant noise of our modern world and connect with the splendor and intricacy of our surroundings. In a world filled with distractions and media, these practices can help us cultivate a deeper appreciation for the natural world and inspire us to protect it for future generations. Anna Tsing's The Mushroom at the End of the World provides a unique perspective on ecological collecting, centering on the practice of mushroom hunting for the rare matsutake species in the Pacific Northwest. However, Tsing's inquiry delves beyond the mere act of gathering mushrooms and raises important questions about our relationship with the environment, the impact of globalization, and the need for adaptability and contingency planning. In her text, Tsing emphasizes the importance of attentiveness to one's surroundings and the ability to embrace unpredictability (Tsing 4). Tsing's "arts of noticing," which encompass the practices of filmmaking and writing, demand a particular kind of focus that prioritizes the natural environment and acknowledges its complexity (Tsing 6). Ecological collecting, therefore, can be viewed as an aesthetic initiative that promotes attentiveness to the world and the ability to adapt to unexpected encounters. As Tsing puts it, "Such seemingly trivial queries might turn everything around to put unpredictable encounters at the center of things" (Tsing 14). This statement illustrates the importance of recognizing the interconnectedness of our environment and the need to welcome the unexpected. Overall, Tsing's work highlights the critical role of ecological collecting in promoting a deeper appreciation for the natural world and cultivating the ability to adapt to changing environmental conditions. Her emphasis on the arts of noticing and embracing unpredictability offers a compelling argument for the value of aesthetic practices in promoting environmental awareness and stewardship.

Dank 3 The arts of noticing involve a profound engagement with the present moment and an appreciation of the interconnectedness of all things, especially those relating to time and space. As Anna Tsing explains in her text that foragers who hunt for matsutake mushrooms are acutely aware of the significance of seasonality in mushroom growth, and they spend hours walking and searching through the forest, attuning themselves to the natural world's cycles (Tsing 13). Foragers, like other practitioners of the arts of noticing, must be patient and fully present, allowing them to be in sync with the rhythms of their surroundings. Solitude is another key aspect of this practice, highlighted in this quote, as mushroom hunters in Tsing's account spend "hours of walking and searching alone" (Tsing 10). However, despite the solitary nature of foraging, Tsing argues that mushroom pickers also rely on a complex network of sellers, buyers, and other pickers to bring their product to market. As Tsing observes, "making a living for matsutake pickers requires not only an ability to navigate landscapes and identify wild mushrooms but also a social infrastructure of brokers, buyers, and other pickers" (Tsing 12). By emphasizing the role of both individual experience and community engagement in the arts of noticing, Tsing highlights the interconnectedness of nature and the importance of recognizing our place within it. In addition, the concept of distraction and attentiveness in the arts of noticing is a crucial aspect that requires special attention. The Mushroom at the End of the World also highlights that the act of noticing necessitates a high level of attentiveness and a willingness to be completely engrossed and present in one's surroundings. Nevertheless, the arts of noticing also entail the recognition of human limitations in terms of concentration and attention, especially given the constant distractions of modern life. Jonathan Crary's work 24/7: Late Capitalism and the Ends of Sleep provides an interesting comparison, where sleep is used as an escape from the never-

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Dank 4 ending demands of modern life. Like the practices of sleep or meditation, the art of noticing requires a particular level of discipline and a need to eliminate distractions. As Tsing puts it, foragers must maintain constant awareness of their surroundings, be alert to potential harvests and the hazards of the environment. At the same time, they must also be able to engage in other activities, such as socializing and resting, without losing their attentiveness to the forest and its bounty. This suggests that the art of noticing involves a delicate balance between the ability to shift focus and goals as needed. Ultimately, the arts of noticing require a deep understanding of one's environment, an awareness of its rhythms, and a willingness to be fully present in the moment. This level of attentiveness allows for a deeper appreciation of the interconnectedness of all things and a greater understanding of our place in the world. Moreover, Rachel Carson's The Edge of the Sea not only presents scientific accuracy but also poetic writing style, making her work a unique and essential source of information on nature writing and ecology. Her writing style can serve as an inspiration to other forms of art, particularly those that involve ecological collection and the arts of noticing. Carson's descriptions of the natural world are breathtaking and illustrate her deep understanding of the environment. For instance, she writes, "here is a typical coral coast, built by the coral animals and the mangroves that multiply and spread in the calm, warm waters-a world whose inhabitants have drifted there on ocean currents from the West Indies, duplicating the strange tropical fauna of that region" (Carson 29). Her use of descriptive words is not only scientifically accurate but also highlights the artistic practices that can be found in scientific fields. It is similar to Aganas Varda's beautiful shots of natural landscapes and the detailed descriptions of people she meets in her film Faces Place s. Carson's work makes it clear that the aesthetic nature of writing and filmmaking can easily interrelate with ecological data collection, both of which require

Dank 5 mindfulness of the environment, even if they appear to be entirely separate at first glance. This implies that scientific accuracy and poetic writing style can be used together to communicate and raise awareness about environmental issues. Additionally, Rachel Carson's observations about the oceans and the impact of human activities on the marine ecosystem demonstrate the significant transformation of our relationship with the sea over time. As technologies have advanced, so too have our abilities to study and exploit the depths of the ocean. This has led to both new opportunities for ecological understanding and increased challenges in preserving and protecting these vital ecosystems. Despite these challenges, Carson's message of ecocentrism encourages greater awareness and responsibility for our actions in relation to the natural world (Carson 31). Carson's insights on the conversion process to ecological literacy offer a practical approach to developing a deeper understanding and connection to the natural world. By engaging in a planned and ongoing sequence of activities, individuals can enhance their sense of responsibility and strengthen their ties to the broader ecological whole. This approach requires a mindful effort to reestablish a relationship with nature and align one's actions with a shared vision for ecological well-being. In many ways, this approach to ecological literacy is similar to the arts of noticing discussed earlier, particularly in the need for attentiveness and patience. Like mushroom hunting, developing an ecological practice requires a delicate balance of attentiveness to the present moment and an awareness of the interconnectedness of all things. Ultimately, the arts of noticing and the conversion process to ecological literacy offer valuable frameworks for cultivating a more mindful and responsible relationship with the natural world. In his book The Landmarks , Macfarlane contends that the act of natural collecting and

Dank 6 aesthetic activities are closely intertwined. Both require a heightened awareness of the natural environment, as well as an appreciation for the beauty and complexity of different ecosystems and landscapes. This connection is illustrated through various practices, such as keeping a nature diary, which involves not only observing and documenting nature but also creating aesthetically appealing sketches and images. Macfarlane quotes Roger Deakin, who states that he wants his writing "to bring people not just to think of trees as they mostly do now" (MacFarlane 10), emphasizing the transformative power of discovery and artistic expression in changing our understanding of the natural world. Photography is another medium that can both serve as a record of ecological gathering and capture the intricate details and beauty of the natural world. Additionally, the practice of "slow looking" encourages individuals to spend time contemplating and appreciating the natural world, developing a deeper connection and respect for its complexity and beauty (MacFarlane 11). These experimental and artistic approaches to viewing nature highlight the importance of being attuned to the natural world and practicing a deep sense of noticing to gain a better understanding. Furthermore, Macfarlane asserts that the arts of noticing encompass a range of interactions with time, location, isolation, society, attentiveness, and distraction. Both environmental gathering and aesthetic practices require individuals to slow down and invest considerable effort in observing and interacting with the natural world (MacFarlane 10). However, people who immerse themselves in the natural environment and focus on their observations and experiences are more likely to experience periods of solitude during ecological collection and aesthetic practices. This is akin to the solitude inherent in mushroom hunting, as depicted in Tsing's work. Such solitude is necessary due to the attention to detail required when taking part in the arts of noticing, especially since individuals must discern and appreciate the

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Dank 7 minute nuances and subtleties of the environments and habitats they encounter. Through MacFarlane's work, we can see that ecological actions are intimately connected to the arts of noticing, as observed in the works of Tsing, Carson, and even Varda. By engaging in these activities, we can escape the constant distractions that surround us and focus on the present moment. In conclusion, the works of Carson, Tsing, and MacFarlane demonstrate how sustainable gathering and creative techniques offer us an opportunity to step away from the constant noise and distractions of the modern world and focus on the awe-inspiring beauty and complexity of our surroundings. Through Tsing's exploration of mushroom hunting, we gain a deeper understanding of humanity's relationship with the environment, and the broader impacts of environmental changes and global economics. Similarly, Carson's message of ecocentrism and her efforts to encourage ecological literacy are hindered by the monetization of the ocean, highlighting the ongoing struggle to balance conservation and exploitation. Finally, MacFarlane's work emphasizes the importance of the arts of noticing, which require us to slow down, be attentive, and engage with our surroundings. By incorporating techniques of environmental gathering into aesthetic practices such as writing and filmmaking, we can develop a deeper connection with the natural world and cultivate a greater appreciation for its beauty and complexity. Works Cited Carson, R. (1998). The edge of the sea . Houghton Mifflin Harcourt. Macfarlane, R. (2016). Landmarks . National Geographic Books. Tsing, A. L. (2021). The mushroom at the end of the world: On the possibility of life in

Dank 8 capitalist ruins . Princeton University Press.

Dank - Final Essay 2

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