Arts, Ecologies, Transitions provides indepth insights into how aesthetic relations and current artistic practices are fundamentally ecological and intrinsically connected to the world. As art is created in a given historic temporality, it presents specific modalities of productive and sensory relations to the world.

Preface

Roberto Barbanti, Isabelle Ginot, Makis Solomos and Cecile Sorin

Introduction

Roberto Barbanti, Isabelle Ginot, Makis Solomos and Cecile Sorin

1. Acoustic Ecology

Kostas Paparrigopoulos

2. Aesthetic Subjectivation

Roberto Barbanti

3. Aisthesis

Carmen Pardo Salgado

4. Alienation

Eric Lecerf

5. Animal

Baptiste Morizot

6. Anthropocene and Aesthetics (The)

Matthieu Duperrex

7. Architecture

Philippe Chiambaretta

8. Art and Milieu (Works of)

Yann Aucompte

9. Art in Common

Estelle Zhong Mengual

10. Biodiversity: An Aesthetic Emergency

Joanne Clavel

11. Cinema

Damien Marguet

12. Co-creation: Collective, Participatory, and Immersive Art

Alice Gervais-Ragu

13. Collapsonauts

Yves Citton and Jacopo Rasmi

14. Contemporary Dance

Joanne Clavel

15. Decoloniality

Nathalie Coutelet

16. Degrowth

Kostas Paparrigopoulos and Makis Solomos

17. Digital Creation

Anne-Laure George-Molland and Jean-Francois Jego

18. Documentary Arts

Soko Phay

19. Ecocriticism and Ecocinema

Cecile Sorin

20. Ecofeminism

Frederick Duhautpas

21. Ecofeminist Territories

Tiziana Villani

22. Ecosomatics

Marie Bardet, Joanne Clavel and Isabelle Ginot

23. Garden (The)

Gilles Clement

24. Geography and Aesthetic Production of Ecological Issues

Joanne Clavel, Clara Breteau and Nathalie Blanc

25. Graphic Design

Yann Aucompte

26. I for Iconoemic

Giusy Checola

27. Landscapes, Territory, and Urbanism

Alberto Magnaghi

28. Learning and Experience

Anastasya Chernigina and Antoine Freychet

29. Literature and the Commons

Remi Astruc and Thierry Tremblay

30. Literature(s)

Aline Berge

31. Memory and Choreographic Works

Isabelle Launay

32. Music

Carmen Pardo Salgado and Makis Solomos

33. Musical Performance and Wet Markets

Pavlos Antoniadis

34. Performance

Helene Singer

35. Pest Plants

Lorraine Verner

36. Photography

Michel Poivert

37. Place

Augustin Berque

38. Plastic Arts

Lorraine Verner

39. Recycling

Gala Hernandez Lopez

40. Site Specificity

Lorraine Verner

41. Socially-Engaged Art

Isabelle Ginot

42. Sound and Sound Milieus

Makis Solomos

43. Sound Art

Susana Jimenez Carmona, Carmer Pardo Salgado and Matthieu Saladin

44. Technology and Economy of Means

Agostino DiScipio

45. Territory

Ludovic Duhem

46. Theatre

Eliane Beaufils and Julie Sermon

47. Transitory Urbanism

Fabrice Rochelandet

48. Visual

Claire Fagnart

49. Walking Art

Antoine Freychet and Anastasia Chernigina

Bibliography

Roberto Barbanti is Emeritus Professor in the Department of Visual Arts at Université Paris 8 and a member of the Arts des images et art contemporain research unit. He co-founded and co-edited the journal Sonorités (2006-2017) and is an advisory board member for the publisher Eterotopia France. His research areas cover ecosophy, sound ecology, and contemporary art. His publications include: Les limites du vivant (co-edited with Lorraine Verner, 2016), Dall'immaginario all'acustinario. Prolegomeni a un'ecosofia sonora (2020), and Les sonorités du monde. De l'écologie sonore à l'écosophie sonore (2023).

Isabelle Ginot is Professor of Dance Studies at Université Paris 8 and co-founder of the association Association d'individus en mouvements engagés. Her two main areas of research intersect with issues of vulnerability and difference in dance. The first addresses dance performance analysis and criticism, and focuses on artists with disabilities who perform on stage. The second analyses practices, especially practices (workshops, performances, participatory art) with "non-dancers" who have disabilities, are ageing, or are affected by social discrimination and exclusion. From 2010 to 2019, she chaired the research group Soma&Po, developing research and practices on the political and social uses of somatic practices. Currently, she runs a practice-based seminar entitled "Mouvements engagés" (Engaged moves), a peer-led workshop that shares dance practices in French care institutions. Lastly, she investigates alternative formats for academic research, involving the participation of artists, activists, and non-scholar actors.

Makis Solomos was born in Greece and lives in France. He is Professor of Musicology at Université Paris 8 and Director of the research unit MUSIDANSE. He has published many books and articles about new music. His main areas of research are the focus on sound, the notion of musical space, new musical technics and technologies, the mutations of listening, and the ecology of sound. His book From Music to Sound: The Emergence of Sound in 20th- and 21st-Century Music (Routledge, 2019) deals with an important change in today's music. His latest book Towards an Ecology of Sound: Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms (Routledge, 2023) addresses an expanded notion of ecology, mixing environmental issues and socio-political questions. He is also one of the main Xenakis specialists, to whom he has devoted many publications. For Xenakis's centenary (2022), he co-organized the "Xenakis22: Centenary International Symposium" and he is the editor of Révolutions Xenakis (Éditions de l'Œil - Philharmonie de Paris, 2022).

Cécile Sorin is currently Professor in the Department of Cinema at Université Paris 8. After having published books on practices of parody and pastiche in cinema (Pratiques de la parodie et du pastiche au cinéma, 2010) and Pasolinian pastiche (Pasolini, pastiche et mélange, 2017), she is currently examining processes of subjectivation in Pasolinian cinema and contemporary French cinema. Her recent work reassesses Pasolini's work through the prism of ecopoetics. In addition, she is co-editor of the "Esthétiques hors cadre" series from Presses Universitaires de Vincennes.