AH 522 Landscapes of the Anthropocene Syllabus public

AH 522 Issues in Architecture, Design and Urbanism L A ND S C A PES OF TH E A NT H ROP OC ENE ART, HERITAGE, AND POLITICS IN A CHANGING CLIMATE University of Illinois at Chicago School of Art and Art History Spring 2023 A course with Ömür Harmanşah, Director, School of Art & Art History, and Associate Professor of Art History Meets Thursdays 3:30-6 pm in Henry Hall 106 Office Hours Mondays 2:00-4:00 pm (and by appointment) Email: omur@uic.edu Office: Jefferson Hall 106 This is an in-person/on campus seminar with hybrid option. 1|P a g e “Every landscape is haunted by past ways of life.” (Gan, Tsing, Swanson and Bubandt 2017: G2). “Global landscapes today are strewn with this kind of ruin. Still, these places can be lively despite announcements of their death... In a global state of precarity, we don’t have choices other than looking for life in this ruin… Our first step is to bring back curiosity. Unencumbered by the simplifications of progress narratives, the knots, and pulses of patchiness are there to explore.” Anna Tsing, Mushroom at the end of the world (2015: 6) “Gravel —an aggregate formed by water— became the likely inspiration for this book, a collage of concerns about the ways intersect with nature in the arid Southwest. The humble gravel pit offers an entrance to the strata of place, suggesting some fissures in the capitalist narrative into which art can flow.” Lucy Lippard (Undermining, 1-2) SEMINAR DESCRIPTION This graduate seminar will engage in recent debates on climate change, the global ecological crisis, and the new geological epoch known as the Anthropocene. Particular attention will be paid to the newly emerging fields of environmental arts and humanities. How are artists, historians, and others in the humanities responding to the new climate regime and the urgent need to decolonize the planet? What can humanities do for world communities in their struggles for climate and heritage justice against extractive economies of late capitalism? What are some of the difficult questions raised about the entrenched Western concepts of growth, progress, freedom, humanism, and anthropocentrism? In this seminar, we will tap into debates critical of what brought the Planet Earth to its catastrophic status, touching on posthumanism, new materialism, ecocriticism, and political ecology. The key themes of the seminar are the following. You will notice that our semester-long program of reading and debating is structured under these themes. 1) Anthropocene 2) Deep Time 3) Landscape 4) Heritage 5) Fieldwork. We live in an extraordinary era of ecological precarity and global anxiety, expressed in a variety of ways. Mass migration of human and non-human communities and the emergence of a new class of environmental refugees constitute current nomadisms in our transnational world. Environmental injustice overlaps substantially with the “increasingly vertiginous explosion of inequalities” since the early 1990s (Latour 2018: 1) and points to the uneven distribution of the impact of climate change around the world. In many places, migrating communities are increasingly denied basic rights to their environment, including access to water, land, clean air, biodiversity, and heritage. The new social movements that focus on environmental and climate justice activism challenge the election programs of political parties 2|P a g e with or without climate-conscious futures. The social movements of ecological resistance experienced at the Dakota Access Pipeline, during the privatization of water in Cochabamba, Bolivia, or the construction of the Merowe High Dam in Northern Sudan, or the Sardinian resistance to the construction of a national environmental preserve speak to us as various local ecologies where the interests of global capitalism, nation-states, and the indigenous communities come into conflict. The making of apocalyptic science fiction films speaks to the practices of contemporary artists visualizing the post-industrial ruins and landscapes of the Anthropocene. Day-to-day news headlines and news reports on hurricanes and unseasonal weather events frequently remind us of a new understanding of our place on the planet as a mere species in the overwhelmingly deep time of geologic history. This graduate seminar will investigate key contemporary debates in environmental humanities and climate change studies, with a special focus on landscapes, fieldwork, new temporalities such as deep time, visualization, and cultural heritage. These concepts remain at the core of artistic, literary, and architectural engagements with the environment in recent history and will form the main threads of discussion within the seminar. Case studies will feature unusual collaborations among artists, scientists, and humanities scholars. Inspired by the arts and the humanities, our approach will lean towards the experimental and experiential. The primary objective of this seminar is to build collectively a new and innovative way of approaching the Anthropocene landscapes from the specific, creative perspective of the humanities and the arts. What are the challenges of climate change and global ecological crisis and local politics of the environment to the humanities and the arts? Political ecology has long been a cross-disciplinary field and derived its strength from the multiplicity of fields taking part in it, such as political science, environmental sciences, human geography, anthropology of social movements, etc. But what would an explicitly humanities and arts approach to ecology look like? Moreover, political ecology also aims to create platforms of debate not restricted to academic discourse, but are open to dialogue to other stakeholders outside academia. How would one address the challenges of ecological conflicts in various places in the world through an arts and humanities initiative? These are the core questions we will attempt to address in this seminar. 3|P a g e COURSE REQUIREMENTS • Class Participation The format of this course is a graduate seminar and it requires the active participation of everyone in the class whether they are taking the class for credit or auditing. The collaborative character of this seminar in particular is then fully dependent on our ability to share the work, collaborate in projects, co-author texts, and produce results in a collective effort. Needless to mention, all participants are expected to complete the weekly readings listed below each week before the seminar meeting, and come prepared to the seminar to participate. Ömür may circulate discussion points of questions prior to the meetings - but there will be room for each of you to share your own ongoing, challenging questions. Participation, active involvement in the discussions, and developing good habits of documenting shared/discussed thoughts are the most vital aspects of this seminar. Since this seminar meets only once a week, missing a class is a big deal. If you have an emergency or health issues that will cause you to miss the class, please contact me and we can work out a way to make up what you have missed. Please make an effort not to miss more than 2 sessions. • Readings: PDF files of all readings and other relevant class materials will be posted on the Blackboard. • Response essays: In the first half of the semester and up to the Spring Break (March 20-24), every two weeks you will be asked to turn in a series of brief essays, addressing the past (one or two) week's discussion (a minimum total of 5 essays). In writing these essays. You may experiment with alternative forms of writing (other than a research paper format), collaborative authoring, detailed reporting on a case study, or critical fabulation. Essays (1000-1500 words, supported by at least 2-3 images) should take up issues discussed in the seminar conversations and covered in readings. However expanded creatively with case studies you will bring to the topic. Some of these alternative writing practices are becoming common practice in academia and scholarly research. This will give us a chance to sharpen our skills in writing frequently and collaboratively. Essays will be shared with the rest of the class and will be added to an archive of the seminar’s collective work. It would be ideal if essays can speak or refer to each other, comment on or challenge each other’s arguments. Maybe you would like to take up an aspect of the discussion that we could not elaborate on and needs further inquiry. What is the most important thing you have taken away from the discussion? What can you contribute and perhaps take further on second thought? • Team Presentations: Starting in Week 3, I would like everyone in the seminar to volunteer to at least one (potentially two) presentations of selected artworks, research projects, exhibitions, or publications. You will see some of the suggested case studies under each week. You are also welcome to suggest a case study and contribute to the syllabus. Your role in this presentation is to discuss the gist of the project, highlight important aspects of the case study or the reading, and to pose questions or discussion prompts to the whole group from them. This is a way for us to share the load of researching and reading. “Presentation” material should be carefully/closely read and summarized for us by the volunteers while others may read or skim them as much as possible or be familiar with them to be able to participate in the discussion. Team presentation idea supports the spirit of collaboration. 4|P a g e • Final Research project: Every participant will choose a related research topic in collaboration with Ömür and turn it into a final research project. The project should involve a research problem, deriving from the theoretical concepts and issues relating to political ecology, adopt an humanities and arts based approach and ideally choose a specific case study relevant to our seminar discussions. The choice of your case study in terms of period and geography is entirely open, whereas the theoretical framework must speak directly to the seminar. The research project’s requirements include a proposal (one paragraph + preliminary bibliography due March 31st Friday), a 15-minute class presentation of the project (April 20th or 29th), and a 12-20 page final paper (due May 5th Friday). GRADING WILL BE BASED ON: • • • • Class attendance and participation (20%), Article presentations (10%), Response Essays (30%) Final project (40%) [Including Class Presentation 10% ~ Final Paper 30%] In order to receive a passing grade, participants must submit all assignments. ACADEMIC INTEGRITY Students are expected to follow the University of Illinois’s ethical code of conduct and academic integrity, as described below. “Academic integrity means honesty and responsibility in scholarship. Students and faculty alike must obey rules of honest scholarship, which means that all academic work should result from an individual's own efforts. Intellectual contributions from others must be consistently and responsibly acknowledged. Academic work completed in any other way is fraudulent. It is your responsibility to refrain from infractions of academic integrity, from conduct that may lead to suspicion of such infractions, and from conduct that aids others in such infractions. ‘I did not know’ is not an excuse. Ask instructors for clarification if you are unsure of their expectations.” Here are the links to the University’s Academic Integrity and Plagiarism information pages: http://www.library.illinois.edu/learn/research/academicintegrity.html http://www.provost.illinois.edu/academicintegrity/students.html CAMPUS PROTOCOLS FOR CARING FOR EACH OTHER Face Masks: Masks covering both the mouth and nose must be worn at all times by all students, instructors (including TAs), and staff while inside our classroom/lab regardless of vaccination status. If you do not wear a mask, you will be asked to leave the classroom and will not be allowed back in class unless or until you wear a mask. Students who do not comply with the mask-wearing policy will be reported to the Dean of Students. Eating and drinking are not allowed in classrooms. UIC values diversity and inclusion. Regardless of age, disability, ethnicity, race, gender, gender identity, sexual orientation, socioeconomic status, geographic background, religion, political ideology, language, or culture, we expect all members of this class to contribute to a respectful, welcoming, and inclusive environment for every other member of our class. If there are aspects of the instruction or design of this course that result in barriers to your inclusion, engagement, accurate assessment or achievement, please notify me as soon as possible. UIC is committed to full inclusion and participation of people with disabilities in all aspects of university life. If you face or anticipate disability-related barriers while at UIC, please connect with the Disability Resource Center (DRC) at drc.uic.edu, via email at drc@uic.edu, or call (312) 413-2183 to create a plan 5|P a g e for reasonable accommodations. In order to receive accommodations, you will need to disclose the disability to the DRC, complete an interactive registration process with the DRC, and provide me with a Letter of Accommodation (LOA). Upon receipt of a LOA, I will gladly work with you and the DRC to implement approved accommodations. WEEKLY SCHEDULE 1. Introduction: Political Ecology as Practice WEEK 1. JANUARY 12. Introduction: Climate change and the field of environmental arts and humanities. Fieldwork perspectives from new debates on the Anthropocene, ruined landscapes of late capitalism, climate change and environmental crisis. Ömür Harmanşah’s presentation + Syllabus review. Günel, Gökçe; 2014. “The Soul of Carbon Dioxide” in The Yearbook of Comparative Literature 58: 14. Anthropocene Curriculum (HKW) https://vimeo.com/781176195 WEEK 2. JANUARY 19. Poetics and politics of living in the Anthropocene. Politics of land use, and landscapes of extreme extraction in contemporary art. Articulating hybrid landscapes and capitalist ruins. What is the mood of living in the Anthropocene? Lippard, Lucy R.; 2014. Undermining: A Wild Ride through Land Use, Politics, and Art in the Changing West. New York and London: The New Press. Farrier, David; 2019. Anthropocene poetics: Deep time, sacrifice zones, and extinction. University of Minnesota Press. 6|P a g e 2. The Anthropocene WEEK 3. JANUARY 26. What is the Anthropocene and what is the New Climate Regime? What is the (temporal/spatial/material) difference between landscapes of the Holocene and landscapes of the Anthropocene? Climate change and the unthinkable. Local and global perspectives on the planetary impact of Anthropocene, global warming and the emergent environmental crisis? Davies, Jeremy; 2016. The Birth of the Anthropocene. Oakland CA: University of California Press. Read “Introduction” (1-14), “1. Living in Deep Time” (15-40) and “2. Versions of the Anthropocene” (41-68). Latour, Bruno; 2018. Down to Earth: Politics in the New Climate Regime. Polity. Chakrabarty, Dipesh; 2016 “The human significance of the Anthropocene” in Reset Modernity! Bruno Latour (ed.) ZKM, 189-199 Zalasiewicz, Jan; Colin N. Waters; Mark Williams; Colin P. Summerhayes; 2019. The Anthropocene as a Geological time Unit: a Guide to the Scientific evidence and Current Debate. Cambridge and New York: Cambridge University Press. Team Presentation [2]: “The Anthropocene Project” at the Haus der Kulturen der Welt https://hkw.de/en/programm/projekte/2014/anthropozaen/anthropozaen_2013_2014.php WEEK 4. FEBRUARY 2. Storytelling and Visualizing (in) the Anthropocene: What stories do we tell about the damaged planet? How does one visualize post-industrial landscapes and what is the politics of this practice? Mirzoeff, Nicholas; 2014. “Visualizing the Anthropocene” Public Culture 26.2: 213-232 Fowkes, Maja and Reuben Fowkes; 2022. “Many Anthropocenes” Art and Climate Change, Thames and Hudson, 12-67. Donna Haraway in conversation with Martha Kenney; 2015. “Anthropocene, Capitalocene, Chthulhucene” in Art in the 7|P a g e Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies. H`eather Davis and Etienne Turpin (eds). Anexact, 255-270. http://openhumanitiespress.org/books/download/Davis-Turpin_2015_Art-in-the-Anthropocene.pdf Ghosh, Amitav; 2016. The Great Derangement: Climate Change and the Unthinkable. Chicago and London: The University of Chicago Press. [excerpts] Reading Reports Dark Mountain Project, Walking on Lava: Selected Works for Uncivilised Times. Chealsea Green Publishing. Freeman, John (ed); 2020. Tales of two Planets: Stories of Climate Change and Inequality in a Divided World. Or Books. 3. Deep Time WEEK 5. FEBRUARY 9 . Deep past, deep future: New temporalities, new challenges in the writing of history, in thinking and writing about the deep past. Perspectives from the humanities and the social sciences. Dipesh Chakrabarty’s Climate of History. Chakrabarty, Dipesh 2021 The Climate of History in a Planetary Age. University of Chicago Press, 1-49. “In his 2009 essay The Climate of History: Four Theses, the historian Dipesh Chakrabarty argued that anthropogenic climate change has signaled a fundamental shift in human history and human capacity. Once we have accepted the scientific evidence that human activities are re-shaping the Earth’s atmospheric patterns and geochemical cycles, he argues, we are compelled to recognize that human beings have, collectively, become a geophysical force capable of determining the course of climate for millions of years. Dossier: Robert Emmett and Thomas Lekan (eds) 2016 “Whose Anthropocene? Revisiting Dipesh Chakrabarty's Four Theses of Climate History.” RCC Perspectives Transformations in Environment and Society 2016/2. Read or Listen Malabou; Catherine 2017. The Brain of History, or, The Mentality of the Anthropocene. South Atlantic Quarterly 116/1: 39-53. Malabou, Catherine 2016 “Anthropocene a new history?” https://www.youtube.com/watch?v=JkTGZ7l7jcM. Durham Castle Lecture Series delivered on 27 January 2016. 8|P a g e 4. Landscape WEEK 6. FEBRUARY 16. Landscape: a new (posthuman) paradigm for the humanities. Temporality of landscapes. Questions of scale and human experience. Taskscapes and the long-term investment of labor into the land. Pakistan’s Hunza Valley and the climate change fieldwork. How does one study landscapes? This is not land, not environment, not nature a layered assemblage of traces of past lives and material processes that are not limited to human. “Every landscape is haunted by past ways of life.” (Gan, Tsing, Swanson and Bubandt 2017: G2). Not a passive background or container of human action, but an active agent in historical processes. Ingold, Timothy; 1993. Temporality of the Landscape. World Archaeology 25.2 Conceptions of Time and Ancient Society, 152-174. Johnson, Matthew; 2006. Ideas of Landscape. Wiley-Blackwell. Massey, Doreen 2006. Landscape as Provocation: Reflections on Moving Mountains. Journal of Material Culture 11:33-48. Tsing, Anna Lowenhaupt; Heather Swanson; Elaine Gan; and Nils Bubandt; 2017. Arts of Living on a Damaged Planet. Minneapolis and London: University of Minnesota Press. Tsing, Anna Lowenhaupt; Andrew S. Mathews; and Nils Bubandt; 2019. Patchy Anthropocene: Landscape structure, multispecies history, and the retooling of anthropology. Current Anthropology 60 suppl. 20: S186-197. Team presentation [2]. Feral Atlas Project: The More-Than-Human-Anthropocene. Tsing, Anna Lowenhaupt; Jennifer Deger; Alder Keleman Saxena and Feifei Zhou (curated and edited by); 2020. Feral Atlas: The More-Than-Human Anthropocene. http://feralatlas.org/ 9|P a g e WEEK 7. FEBRUARY 23. Anthropocene Landscapes: Landscapes of extraction, landscapes of infrastructure. Salvage accumulation in the neoliberal countryside. Tsing, Anna Lowenhaupt; 2015. The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton University Press. • • • • • • Prologue. Autumn Aroma 1-9 Arts of Noticing 17-25 Contamination as Collaboration 27-34 Some Problems with Scale 37-43 Interlude: Smelling 45-52 After Progress: Salvage Accumulation/ Working the Edge 57-70. “Matsutake is the most valuable mushroom in the world— and a weed that grows in human-disturbed forests across the northern hemisphere. Through its ability to nurture trees, matsutake helps forests to grow in daunting places. It is also an edible delicacy in Japan, where it sometimes commands astronomical prices. In all its contradictions, matsutake offers insights into areas far beyond just mushrooms and addresses a crucial question: what manages to live in the ruins we have made?” Stoler, Ann Laura; 2013. Imperial Debris: On Ruins and Ruination. Duke University Press. Read Stoler’s “Introduction: ‘The Rot Remains’ From Ruins to Ruination” 1-35. “Imperial Debris redirects critical focus from ruins as evidence of the past to "ruination" as the processes through which imperial power occupies the present. Ann Laura Stoler's introduction is a manifesto, a compelling call for postcolonial studies to expand its analytical scope to address the toxic but less perceptible corrosions and violent accruals of colonial aftermaths, as well as their durable traces on the material environment and people's bodies and minds.” Team presentation [2]. A. Laurie Palmer; 2014. In the Aura of a Hole: Exploring Sites of Material Extraction. WEEK 8. MARCH 2. Facing Gaia: Bruno Latour, Lovelock’s Gaia hypothesis, and perspectives from the science and technology studies on the environment, and “why political ecology has to let go of nature” Materials from Bruno Latour’s Master Class. Bertold Brecht’s Life of Galileio. Read or Listen Latour Bruno; 2017. Facing Gaia: Eight Lectures on the New Climatic Regime. Polity. • • Chapter 1. On the Instability of the (notion of) nature 7-40. Chapter 3. Gaia, a finally secular figure for nature 75-110 Latour, Bruno; “Facing Gaia” First of the Gifford Lectures given by Bruno Latour in Edinburgh February 2013. http://www.bruno-latour.fr/node/487 10 | P a g e “Those six lectures in ‘natural religion’ explore what it could mean to live at the epoch of the Anthropocene when what was until now a mere décor for human history is becoming the principal actor. They confront head on the controversial figure of Gaia, that is, the Earth understood not as system but as what has a history, what mobilizes everything in the same geostory. Gaia is not Nature, nor is it a deity. In order to face a secular Gaia, we need to extract ourselves from the amalgam of Religion and Nature. It is a new form of political power that has to be explored through a renewed attempt at political theology composed of those three concepts: demos, theos and nomos. It is only once the multiplicity of people in conflicts for the new geopolitics of the Anthropocene is recognized, that the ‘planetary boundaries’ might be recognized as political delineations and the question of peace addressed. Neither Nature nor Gods bring unity and peace. ‘The people of Gaia’, the Earthbound might be the ‘artisans of peace’.” • • Original teaser text from Bruno Latour and Frédérique Aït-Touati: Moving Earths Prepared to celebrate James Lovelock’s 100th birthday https://villa-albertine.org/events/moving-earths-frederique-ait-touati-bruno-latour Bertold Brecht’s “Life of Galileo” by Joseph Losey https://www.youtube.com/watch?v=ogT6f0es480 Team Presentation [2]: Critical Zones Exhibition (ZKM): Observatories for Earthly Politics https://zkm.de/en/exhibition/2020/05/critical-zones 5. Heritage WEEK 9. MARCH 9. “Heritage is of the present in the present” What is heritage, what is cultural heritage? Discourse on heritage as resource. Defining heritage in the post-colony. Heritage ecologies, and landscapes as heritage. Heritage futures. Shepherd, Nick; 2008. “Heritage” In New South African Keywords. Nick Shepherd and Steven Robins (eds). Jacana /Johannesburg: Ohio University Press, 116-128. Shepherd, Nick; 2007. “Archaeology Dreaming: post-apartheid urban imaginaries and the bones of the Prestwich Street dead” Journal of Social Archaeology 7: 3-28. Breithoff, Esther and Rodney Harrison; 2020. Making Futures in End Times: Nature Conservation in the Anthropocene. In Deterritorializing the Future: Heritage in, of and after the Anthropocene. Rodney Harrison and Colin Sterling (eds.). Open Humanities Press, 155-187. Sterling, Colin; 2020. Heritage as an Anthropocene Method. In Deterritorializing the Future: Heritage in, of and after the Anthropocene. Rodney Harrison and Colin Sterling (eds.). Open Humanities Press, 188-218. Team Presentation [2]: PETCOKE: Tracing Dirty Energy. 2016. Exhibition curated by Natasha Egan and Karen Irvine. Marissa Lee Benedict and David Reuter, Rozalinda Borcila, Terry Evans, Geissler/Sann, Brian Holmes, Claire Pentecost, Steve Rowell, Victoria Sambunaris. Museum of Contemporary Photography July 21-October 9, 2016. “Petcoke:Tracing Dirty Energy features MoCP commissioned works by artists in response to the environmental and public health impact of petcoke, a dust-like waste product containing carbon, toxic heavy metals, and other dangerous compounds resulting from oil refining processes in the Chicago region and beyond. In addition to photography, the exhibiting artists use multi-channel video installations, sculptural objects and interactive maps to document and 11 | P a g e inspire action around the often-overlooked relationship between the growing petcoke industry and climate change.” WEEK 10. MARCH 16. Salvage and salvage accumulation: does heritage need to be rescued? Salvage as environmental injustice. Archaeological practice in zones of conflict and development. A critical perspective on salvage archaeology. Dams and hydro-electric power plants and the destruction of landscapes. Human rights violations, state violence, late capitalist development projects and the role of the multinational corporations. Towards a new ethics of salvage archaeology. Hollesen, J. 2022 “Climate change and the loss of archaeological sites and landscapes: A global perspective.” Antiquity 96(390): 1382-1395. Bangstad, Torgeir Rinke and Þóra Pétursdóttir; 2022. “An ecological approach to heritage” in Heritage Ecologies, Torgeir Rinke Bangstad and Þóra Pétursdóttir (eds). 1-27. Dissard, Laurent; 2018 “From Shining Icons of Progress to Contested Infrastructures: “Damming” the Munzur Valley in Eastern Turkey,” in Contested Spaces in Contemporary Turkey, Fatma Müge Göçek (ed.) I.B. Tauris: London and New York, 281-316. Kleinitz, Cornelia and Claudia Näser; 2011. “The Loss of Innocence: Political and Ethical Dimensions of the Merowe Dam Archaeological Salvage Project at the Fourth Nile Cataract (Sudan)” Conservation and Management of Archaeological Sites 13 2-3: Sub-Saharan Africa: 253-280. Team Presentation Meskell, Lynn; 2009. “The Nature of Culture in Kruger National Park” in Cosmopolitan Archaeologies. Lynn Meskell (ed.). Durham and London: Duke University Press, 89-112. MARCH 20-24 SPRING BREAK 12 | P a g e WEEK 11. MARCH 30. Global heritage at risk: religion and secularism – another kind of fieldwork in the Anthropocene Guest: Trinidad Rico, Visiting Professor and Director of Heritage Conservation Program at University of Southern California, School of Architecture “I grew up in a small town of Patagonia, Argentina, but I did my BA in Archaeology at the University of Cambridge and an MA in Conservation focused on archaeology and museums at the Institute of Archaeology of University College London. During these early years, I joined every field project I could, so I worked in Italy, Denmark, Portugal, Turkey, Oman, and Argentina. Once I became more passionate about the politics of conservation and heritage management, I moved to Paris to pursue an internship at the Secretariat of the International Council on Monuments and Sites… Due to the intimate and long-term nature of the kind of fieldwork that I do, I have fallen in love with every one of my projects, the people that I collaborate with, and the things that they care for. In more general terms, I want to celebrate that underneath a field full of wonder and beauty, there is a huge diversity of views and approaches, including conflicts and opportunities for learning at every corner. Without a doubt, the most exciting discovery in this area of study is the human factor: field collaborations, communities of practice, cultural encounters, etc. In the last three decades, the study of heritage and conservation has exploded into a cacophony of ways of thinking and knowing about heritage, thanks to the room that was finally created for more diverse voices.” Rico, Trinidad; 2015. Heritage at Risk, in Heritage Keywords: Rhetoric and Redescription in Cultural Heritage. Kathryn Lanfrenz Samuels and Trinidad Rico (eds). University Press of Colorado, 147162. Rico, Trinidad; 2021. Heritage preservation in religious contexts. Disciplinary challenges for the Middle East and North Africa (MENA) region. Archaeological Dialogues 28.2 With responses from various scholars. Rico, Trinidad; 2021. Global heritage, religion and secularism. Cambridge Elements. 6. Fieldwork WEEK 12. APRIL 6. Fieldwork in the Anthropocene, Fieldwork as creative practice. What does fieldwork look like in the Anthropocene? What are the possibilities of unexpected, unorthodox collaborations across disciplines among the sciences, the arts, and the humanities? Fieldwork and emotions. Latour, Bruno; 2018. Giving depth to the surface: An exercise in the Gaia-graphy of critical zones. The Anthropocene Review 1–16. Rizvi, Uzma Z. 2013. “Checkpoints as Gendered Spaces: An Autoarchaeology of War, Heritage and the City” In The Oxford Handbook of the Archaeology of the Contemporary World, edited by P. Graves-Brown, R. Harrison, and A. Piccini. Oxford: Oxford University Press, 494-506. Taussig, Michael; 2011. Fieldwork notebooks = Feldforschungsnotizbücher. Ostfildern, Germany : Hatje Cantz. Julia Shaw 2016; Archaeology, climate change, and environmental ethics: diachronic perspectives on human; non-human; environment worldviews, activism and care. World Archaeology 48.4. Humanities Without Walls Project: Political Ecology as Practice, Field Guide. 13 | P a g e Week 13. April 13 Individual Project Presentations I 15-minute presentation of each project, with 15 minutes Q + A to follow each presentation. Please prepare your presentation like a conference paper. It is important to give feedback to each other. Depending on the paper, you should consider using visual materials. The program for April 13 + 20 will be circulated by Ömür. Week 14. April 20 Individual Project Presentations II 15-minute presentation of each project, with 15 minutes Q + A to follow each presentation. Please prepare your presentation like a conference paper. It is important to give feedback to each other. Depending on the paper, you should consider using visual materials. The program for April 13 + 20 will be circulated by Ömür. Week 15. April 27. Wrap up session: publication planning. Final Research paper due May 5th by 5 pm, hard copy in Ömür’s mailbox (in Jefferson Hall Art History office). Please also email Ömür a digital version (word or pdf). 14 | P a g e