By detailing the waste we have discarded, John Scanlan argues that we can learn new things about the building blocks of our culture; he throws new light on the modern condition by examining not what we have kept, but what we have thrown away.
Keekok Lee examines the National Trust’s decision to restore Yew Tree Tarn in UK’s Lake District, and argues that while aesthetics is important, it cannot form the basis of an adequate environmental philosophy.
Portera posits that human niche construction can provide insight into how aesthetic standards develop within human societies and cultures. Standards of beauty tend to evolve through cultural niche construction behavior and biological evolution.
Dudley draws on her experience of researching the Severn River, UK, to reflect on what it means to know a place. The river is constituted through legal documents, maps, regulations, through the lived experience of recreational users, and through imaginative and artistic practices. These multiple ways of knowing a river can inform philosophies of place and space.
This film displays ideas and experiments in art and architecture to design and dwell in portable, flexible, environmentally-friendly off-grid and compact homes.
This film follows a team travelling to Alaska to examine how much of our garbage has ended up in the region’s gyre—a rotating ocean current.
Emily Brady puts forward a model of aesthetic appreciation based on disinterestedness, as an alternative to what she calls the hedonistic model..
In ¡Vivan las Antipodas!, award-winning documentary filmmaker Victor Kossakovsky visits four rare inhabited regions of the world that are antipodal to other landmasses and creates unexpected images that turn our view of the world upside-down.
The Mount Rushmore National Memorial in Keystone, South Dakota is a sculpture of the heads of four prominent United States presidents and a protected landscape by the International Union for Conservation of Nature.
