Search Results

You are looking at 1 - 10 of 39 items :

  • "creativity" x
  • Life Sciences, other x
Clear All

Wadas, and Amy Krynak for their guidance and support. Robin Anders, you know how to edit and critique like nobody else. Thank you. Thank you also, Kathryn and Jamesie Spicer, for your editorial assistance and for giving me the crumbs and long mornings and afternoons to meet my ants. Neil McCoy, thank you for your creativity, which helps to sharpen and enliven ideas. Holly Menninger, your powers of coor- dination and organization are unparalleled. Thank you, Alex Wild, for using your skill and vision to make giants of ants, for showing us how beautiful their

. Shilton. People of craft and care, you make my writing better. To friends who encouraged the emergence of this book—John Hausdoerffer, Liam Heneghan, Christie Henry, Julian Hoffman, Lau- ren Markham, Lilian Pearce, Arthur Pearson, Bob Pyle, and Andreas Weber. People of skill and creativity, you nurture my thoughts. To Keara McGraw—whose alchemical artistry brings Chicago’s wildlife to life in these pages. gratitudes 222 Gratitudes To the people and places that provided hospitality, a writing nest, and hummingbirds— Tony Anella and Cara McCulloch, who helped me

democracy. A renewable- energy economy will only be built through the renewable energy of free and self- organized citizens and communities. The transition beyond oil is not merely a technological transition— it is above all a political transition in which we stop being passive and become active agents of transformation by recognizing that we have the capacity, the energy, and the creativity to make the change. 230 V a n d a n a S h i v a Life is based on the self- organizing energies of the universe, from cells to Gaia, from communities to countries. We as living

anthropomorphism to suggest that this emergence of new form reveals a kind of spontaneous creativity in nature. The world uses simple principles to bring forth variety and riches, Darwin’s “endless forms most beautiful.” Some of that beauty is captured here. THE PATTERN PALETTE Certain forms, shapes, and patterns recur again and again in the natural world, in systems that seem to have nothing to do with one another. Waves of growth are one of them, as can be seen in this piece of agate.

form of poems and confessions left at the grave, grave-topping toys and objects—more often echoes the handmade and homemade creativity associated in an earlier cen- tury with rural and poor communities—with “folk art”—than it does the quiet restraint and uniform gravesites of the now-popular style of human “memorial park.”35 The cemetery-design movement of the lat- ter half of the twentieth century in the United States has led to acres of close-clipped grass and fl at tombstones that interrupt neither the mechanized mower nor the eye of the visitor with

environment. Mourning cloak but- terflies squeeze into the crevices of bark and hide out for the winter. And while many butterflies build chrysalises, others literally hibernate right before our eyes. Indeed, insect ingenuity helps them survive life in the city. There is much to be learned from the creativity of insects, and their mimicry skills might even be understood as a form of performance art. Moths appear to have big eyes and therefore seem larger than they are. Beetles have patterns on their backs that help them blend into the earth. And some butterflies

new paradigms for agriculture, looking to wild systems as a standard for creativity, complexity, and diversity; the second is a conversation about the merits of a future “Island Civilization” and whether humans can be “house- mates” or merely remote neighbors when the “self- will” of the land is the ultimate priority. What the reader will find across these diverse geographies of the wild continuum, from the near- at- hand to the planetary, are experiences grounded in everyday lifeways that respect, learn from, and provide for the agency of nonhuman beings

just like the radical natural park folks. I’d like to see more creativity, more visceral expressions, of commercial farming order not only coexisting with wild sys- tems but actually enhancing them. Can this be done? Even in the pages of ACRES USA we see pictures of clean tillage with mono- crops. Using compost and foliars, eco- farmers outperform their chemical- based counterparts. That’s good and I’m glad. But can we do better? A couple of years ago, I visited Colin Seis’s farm in Australia. Standing in a two- hundred- acre field of oats ready to combine

holds precedence in inclusiveness. We are embedded within it. 3. It holds precedence in complexity of organization. It is far more complex than we are. 4. It is more creative. Its evolutionary creativity has given rise to all biota, in- cluding us. 5. It has precedence in diversity. In our educational efforts on Earth Island, we teach the young that nothing is more important than to comprehend the overarching supraorganismic reality we call the Ecosphere. To act on that ecology— to work with and cul- tivate this wild process— is central. References Bacon, Francis

creativity. They were often included in portraits and almost always with a woman, perhaps because they can be trained to talk, which is itself a miracle, just like the virgin who gave birth to Christ. History painting was viewed as the most important genre from about the sixteenth to the nineteenth century. The subject matter, from classical history, mythology, and the Bible, typically depicted an important event or action. Other forms of painting that developed in Antwerp were gallery and collection painting – the painting of collectibles ensconced in a wall cabinet