Bøger af Timothy Morton

Argues that various forms of life are connected in a vast, entangling mesh and this interconnectedness penetrates different dimensions of life. This title investigates the profound philosophical, political, and aesthetic implications of the fact that these life forms are interconnected.

In twenty short books, Penguin brings you the classics of the environmental movement.Provocative and playful, All Art is Ecological explores the strangeness of living in an age of mass extinction, and shows us that emotions and experience are the basis for a deep philosophical engagement with ecology.Over the past 75 years, a new canon has emerged. As life on Earth has become irrevocably altered by humans, visionary thinkers around the world have raised their voices to defend the planet, and affirm our place at the heart of its restoration. Their words have endured through the decades, becoming the classics of a movement. Together, these books show the richness of environmental thought, and point the way to a fairer, saner, greener world.

Global warming is perhaps the most dramatic example of what Timothy Morton calls "hyperobjects"-entities of such vast temporal and spatial dimensions that they defeat traditional ideas about what a thing is in the first place. Morton explains what hyperobjects are and their impact on how we think, how we coexist, and how we experience our politics, ethics, and art.

Morton argues that the chief stumbling block to environmental thinking is the image of nature most writers promote: they propose a new world view, but their very zeal to preserve the natural world leads them away from the "nature" they revere. To have a properly ecological view, Morton suggests, we must relinquish, once and for all, the idea of nature.

Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Mobius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are.The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse.

Escaping global warming hell, this revelatory book shows, requires a radical, mystical marriage of Christianity and biology that awakens a future beyond white male savagery.

The time of hypersubjects is ending. Their desert-apocalypse-fire-and-death cults aren't going to save them this time. Meanwhile the time of hyposubjects is just beginning. This text is an exercise in chaotic and flimsy thinking that will possibly waste your time. But it is the sincere effort of two reform-minded hypersubjects to decenter themselves and to help nurture hyposubjective humanity. Here are some of the things we say in this book: 1) Hyposubjects are the native species of the Anthropocene and are only just now beginning to discover what they might be and become. 2) Like their hyperobjective environment, hyposubjects are also multiphasic and plural: not-yet, neither here nor there, less than the sum of their parts. They are, in other words, subscendent (moving toward relations) rather than transcendent (rising above relations). They do not pursue or pretend to absolute knowledge or language, let alone power. Instead they play; they care; they adapt; they hurt; they laugh. 3) Hyposubjects are necessarily feminist, colorful, queer, ecological, transhuman, and intrahuman. They do not recognize the rule of androleukoheteropetromodernity and the apex species behavior it epitomizes and reinforces. But they also hold the bliss-horror of extinction fantasies at bay, because hyposubjects' befores, nows, and afters are many. 4) Hyposubjects are squatters and bricoleuses. They inhabit the cracks and hollows. They turn things inside out and work miracles with scraps and remains. They unplug from carbon gridlife; they hack and redistribute its stored energies for their own purposes. 5) Hyposubjects make revolutions where technomodern radars can't glimpse them. They patiently ignore expert advice that they do not or cannot exist. They are skeptical of efforts to summarize them, including everything we have just said.