Read Time 14 min.

Ecotopia – Unlearning Animality

Ecotopia – Unlearning Animality

In: Shifter 24: Learning and Unlearning.
Edited by Avi Alpert and Sreshta Rit Premnath, 2019.







The danger of utopianism is that it projects an idealized future that is by necessity a totality, an idealized version of today’s world with no tolerance for imperfection. But the future is always an opening rather than a fixed landscape. It is the opening that gives us the world as something other than a totality – a becoming. A utopia, then, is a vehicle for leaning towards that opening by letting it pull us forward while unexpected terrains – both hostile and nourishing – are revealed on the way. 

In the wake of the environmental crisis – or rather, in the mainstream acknowledgement of a crisis that has been in the making for a good 500 years1 – utopian thinking has become urgently preoccupied with our relationship with nature. On the one hand, the future of the natural world as such is at stake, and we must address the question of how to save the planet where we can continue our utopian dreams.2 On the other hand, the question of ecotopia concerns the fact that in order to achieve the first, we must radically alter our relationship with and understanding of nature as something separate from human existence. Thus, the most fundamental thing to unlearn is the idea of human exceptionalism that makes it possible to identify a “nonhuman” field of life as something to be freely exploited. 

The extractive use of natural resources and the exploitation of the labor and bodies of both humans and nonhumans is widely critiqued in different fields of leftist political ecology. Yet, the question of the animal tends to be missing from these conversations. By the question of the animal I don’t mean the ecological devastation that animal agriculture generates or the mass extinction of species due to climate change, both of which are addressed in conversations about developing more balanced economies that would be in line with the limits of earth’s ecosystems. Instead, I refer to “the animal” as the conceptual framework that renders beings of all species killable. In resonance with the work of Syl Ko, Che Gossett and others, I argue that the deconstruction of the concept of “the animal” as “the Other” from the perspective of white supremacist humanism is essential in order to dismantle racial petrocapitalism and other forms of systemic violence against both human and nonhuman lives.

Conversations about animal rights and human rights tend to happen in different circles of activism. The relationship between these circles is often nonexistent, if not hostile. The clash between animal rights and social justice movements can be traced to their conceptualization of the boundary between humans and animals. Animal rights advocates often approach animal liberation as the next phase in what can be described as rings of emancipation that started with the abolition of slavery, followed by legal recognition of the rights of women, children, disabled and LGBTQ people. Nonhuman animals, in this framework, are seen as the next in line to enter the sphere of rights. The concept of speciesism, made popular by philosopher Peter Singer, is intended as a way to point to a structural similarity between the oppression of nonhuman animals and humans.3 According to the notion of speciesism a random signifier (in this case biological species) has been used to justify the oppression of a group. What this approach misses, of course, is that freedom has not yet arrived for many, if not most, people who are still fighting for basic rights. Furthermore, from the humanist perspective, it is the very human-animal boundary that is the safeguard against dehumanization, in other words, against being “treated like an animal.” Animal rights would thus seem to threaten the very grounds on which social justice struggles stand, while social justice struggles, from the animal rights point of view, resort to an exclusive human supremacy, blind to the suffering of nonhuman life. 

The animal rights advocates’ common argument for legal rights of nonhuman animals is to point to the mounting evidence of the cognitive similarities between humans and other beings. Their argument is that the categorical inferiority of all nonhuman animals has no empirical grounding in scientific data, which shows that the abilities that are traditionally considered to underwrite human exceptionalism can in fact be found in other lifeforms. This claim resonates with the ways that human rights campaigns prove that, despite phenotypical or cultural differences,“we are all human” and thus deserve equal treatment. If the projected categorical inferiority of nonhuman animals or racialized people has no scientific basis, then why do animal oppression and racism prevail? One reason is that, like race, what we refer to as human and animal are not scientific categories of biological types, but moral categories. Thus, using essentialist similarities or differences has little effect on oppression. Approaching the question of animal as a question of animalization of both humans and nonhumans provides a more productive framework for both animal ethics and social justice. 

Posthumanist scholarship has long pointed out that in Western thought the notion of human is a construct that has been constituted through rejecting what it is not. A core part of this project has been the human need to externalize and reject its own animality, and to project its undesired characteristics onto those rendered “other” to the realm of humanity. Since the self-ascribed norm of humanity proper has, throughout Western history, been the white, straight, upper-class man, anyone who diverts from this norm has been considered less human and thus already in danger of being “treated like an animal.” Giorgio Agamben calls this perpetual operation the “anthropological machine” at the heart of Western thought. This machine ceaselessly tries to separate humanity from the underlying animal body, with lethal consequences.4 Cary Wolfe, in turn, describes the biopolitical field as a “species grid” of humanized humans, animalized humans, humanized animals and animalized animals rather than a neat two-category field of humans/ animals that is marked by a species difference.5 

All these descriptions point to the fact that moral categories are created not by observing differences but by performative naming. As Cora Diamond writes, naming someone a human constitutes them as someone not killable, and vice versa: already naming someone an animal constitutes them as someone who can be killed.6Observable similarities and differences are used to reinforce these labels, not to create them. The binary arrangement of “humans” as those who have moral worth as opposed to “animals” who lack moral worth is thus a condition of possibility for a matrix that makes possible other forms of oppression such as racism, sexism or xenophobia. 

While posthumanist and biopolitical scholarship sees the human-animal binary as a human condition that is integral to the Western and westernized worldview since antiquity, some contemporary scholars have advanced the conversation by pointing to the particular way in which race and animality are entangled in the modern Western imaginary. In Aphro-Ism – Essays on Pop Culture, Feminism, and Black Veganism from Two Sisters, Syl Ko argues that the birth of race in the European imaginary in the 16th century also marked a radical shift in the logic governing human-animal relations.7 The sociologist Ramon Grosfuegel notes that encountering indigenous people of the Americas opened up a space for a racial logic in the minds of Spanish colonists, who thought of indigenous people as animal-like humans.8 Colonialism thus gave birth to the emergence of racial hierarchies within the figure of the human in the Western imaginary. This was further cemented in the course of the transatlantic slave trade, during which blackness was marked as a signifier of “subhumanity” while whiteness became the signifier of “human proper.” Syl Ko argues that this new binary of “human proper” and “subhuman” transfigured or even replaced the historical human-animal binary. The constitutive “Other” to the Western notion of human was not anymore the literal nonhuman animal, but the racialized human other.9 Ko writes about how the human-animal boundary was thus redrawn along racial lines. In the racial imagination, not only are “subhumans” animalized through their assumed proximity to the animal, but nonhuman animals are also racialized through their assumed proximity to the “subhuman.” Racialization and animalization merge into two instances of the same figure: the binary opposite of the colonial, white supremacist, patriarchal, and classist figure of a “human.” 

It follows not only that the human-animal boundary is what makes it possible to throw anyone outside the protections of humanity and “treat them like an animal” (as is widely noted in posthumanist discourses), but also that it will be impossible to dismantle racism or coloniality without also dismantling the logic of animality and vice versa. As Maneesha Dekha notes, resorting to equal human rights is not possible since the notion of humanity is already constituted by excluding racialized others.10 Furthermore, dismantling the toxic notion of humanity, by necessity, requires dismantling the notion of animal as foundational to the hierarchy itself. As the colonial logic of animalization encompasses nonhuman animals in its framework, decolonization must lead to refiguring our concrete relationships and moral attitudes towards nonhuman animals as well.

In this context, Syl Ko builds a powerful argument for what she calls Black Veganism as a form of resistance against white supremacy and its logic of animalization. For Ko, veganism – yet another form of environmentalism that is typically dominated by white perspectives – takes anti-racism as its starting point to provide a place of solidarity and alliance with all those oppressed by toxic humanism. Ko writes that “because racism is simultaneously anti-black and anti-animal,” an animal ethic “is internal to the project of black liberation.”11 Black Veganism, then, is not about being black and vegan, but a way of being vegan, and of reformulating how we understand oppressions and injustices ordinarily thought to affect only human beings. While Black Veganism is available for anyone who wants to commit to this form of resistance, people who have been subjected to racism have particular knowledge about the workings of animalization. Internalized racism manifests as what Ko describes as a feeling of an ontological lack (of humanness). This embodied knowledge of the entanglement of blackness and animalization can be a way of apprehending “the animal” as a vast social body and turned into a tool for resistance and ethical revaluation.12 To reject the white supremacist notion of human, Ko suggests, means reclaiming blackness, but also reclaiming the signification of the concept of animality. Instead of putting already marginalized groups in competition with each other, to reconceptualize animal oppression and oppression of humans through the notion of race allows these movements to unite their fronts. This is not only a vehicle for human emancipation. Ko writes how the process of reclaiming the concept of the animal has direct implications “for those who suffer most from the category ‘the animal’ – nonhuman animals.” She continues: “Their inferiority is also materially located in their bodies, which are generally marked as consumption items, objects to be used as we see fit, and so forth.”13 Thus, foregrounding the entanglement of racialization and animalization allows us to keep the suffering and oppression of nonhuman animals in focus (something that is easily missed in ecological discourses that focus on environmental impact) while not falling into the “colorblind” animal rights’ advocacy that completely bypasses notions of racial and social justice. 

Taking the question of the animal seriously carries important potential for political ecology. The rise of capitalism as deeply entangled with transatlantic slave trade was made possible by the construct of race as a justification for mass scale abduction, inter-generational violence, and genocide. This violence still continues today in the form of racialized climate violence, forced displacement and global economic inequality. If race, in turn, is inseparable from animality, capitalism without animality is unthinkable. What this means is that fighting capitalism without fighting the core logic of animalization will always remain a futile gesture. In other words, animal liberation as well as anti-racism should be at the core of all anti-capitalist resistance. Che Gossett writes: “Abolition is always already about ecology and we continue to need and demand an abolitionist ecology. This is true especially in the face of accelerated climate change which actually ties directly into the prison industrial complex and in the face of racial capitalism that forecloses all forms of life through caging and killing and rendering human and nonhuman life forms as surplus and disposable.”14

The task of ecotopia, then, is to think of a world beyond animality: beyond an order that organizes beings into those protected and those killable by using animality and humanity as its divider. This is a world without a Difference (as Diamond puts it) between the human and the non-human, but not a world without differences.15Letting go of a binary logic frees the heterogeneousness of life to flourish and form kinships and alliances across species divides. This is a world that is, by necessity, without capitalism, because animality is the conceptual bedrock that makes capitalism possible (crude oil is, afer all, made of the bodies of ancient creatures – while the energy generated by oil has literally replaced the labor of enslaved, animalized people). The task, to conclude, in Syl Ko’s words, is to “build up a different “new world,” one that is not defined in terms of dichotomies or hierarchies or emotional death – but centered on love: one in which we accept ambiguity and difference, grounded in an expansive, limitless “we.”16


First published in: Shifter 24: Learning and Unlearning. Ed. Premnath, Sreshta Rit and Alpert, Avi. New York, 2019. 


References

Agamben, Giorgio, 2004. The Open – Man and Animal. Stanford: Stanford University Press.

Davis, Heather and Todd, Zoe, 2016. On the Importance of a Date, or Decolonizing the Anthropocene. ACME An International Journal for Critical Geographies. 

Deckha, Maneesha, 2010. The Subhuman as a Cultural Agent of Violence. In: Journal for Critical Animal Studies, Volume VIII, Issue 3, 2010 

Demos, Tj, 2017. Against the Anthropocene – Visual Culture and the Environment Today. Berlin: Sternberg Press. 

Diamond, Cora, 1978. Eating Meat, Eating People. Philosophy. Vol. 53, No. 206 (Oct., 1978), pp. 465-479. published by Cambridge University Press on behalf of Royal Institute of Philosophy.

Grosfuegel, Ramon, 2013. The Structure of Knowledge in Westernized Universities –

Epistemic Racism/Sexism and the Four Genocides/Epistemicides of the Long 16th Century. In: Human Architecture: Journal of the Sociology of Self-Knowledge, Xi, issue 1, fall 2013, 73-90 

Ray Filar: Cruising in the End Times – An Interview with Che Gossett. Verso Blog 18 December 2016.

Aph Ko and Syl Ko, 2017. Aphro-Ism – Essays on Pop Culture, Feminism, and Black Veganism from Two Sisters. Brooklyn:Lantern Books, 2017

Ly, Palang, 2019. An Interview with Syl Ko – Activism in terms of an epistemological revolution. In: Tierautonomie. February 2019. Tierautonomi: http://simorgh.de/tierautonomie/JG6_2019_1.pdf

Wolfe, Cary, 2003. Animal Rites: American Culture, the Discourse of Species, and Posthumanist Theory. London/Chicago: University of Chicago Press.

1Many scholars and activists have pointed out that the roots of the climate crises are much further back in history than what is commonly acknowledged. Heather Davis and Zoe Todd argue that placing the start date of the era of the Anthropocene to 1492 would make it possible to perceive the entanglement of racial capitalism and colonialism as the root of current climate destruction (Davis and Todd, 2016). TJ Demos argues, similarly, that to view the crises in universalist, geological terms overlooks the fact that the driving forces behind what is called the Anthropocene are in fact racial capitalism and corporate exractivism, ruled by a small minority of “the anthropos” (Demos, 2017). Many different variations of the term seek to capture these aspects, such as Capitalocene and Plantationocene (Donna Haraway) or White Supremacy Scene (Nicholas Mirzoeff). 

2See for example Center for Creative Ecologies’ research project “Beyond the End of the World” (https://news.ucsc. edu/2018/10/mellon-humanities-futures.html), University of Oregon’s Center for Environmental Futures (https://blogs. uoregon.edu/uocef/) or Mustarinda Residency (https://mustarinda.fi)

3The concept Speciesm was introduced by Richard Ryder in 1970, and it has been popularised by philosopher Peter Singer in Animal Liberation – A New Ethics for Our Treatment of Animals (Singer, 1975).

4Agamben, 2004.

5Wolfe, 2003. 101.

6Diamond, 1978. 465-479. 

7Ko, 2017. 23-25, 45-46,

8Grosfuegel, 2013. 73-90

9Ly, 2019.

10Deckha, 2010. 

11Ko, 2017. 121.

12Ibid., 124

13Ibid., 69

14Filar, 2016. 

15Diamond, 1978. 465-479. 

16Ko, 2017. 75.

UPCOMING

Feb 18, 2025
Talk: Animals, Biocapital and Left Politics
Art Laboratory Berlin

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Keynote lecture: Ihmiskeskeisyyttä purkamassa
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Keynote, Münster Lectures
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Roundtable: What’s Left for the Animals
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Exhibition: Working Animal’s Party
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Museum of Impossible Forms, Helsinki

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Rensselaer Polytechnic Institute, Albany, NY

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Gustafsson&Haapoja: Waiting Room
Exhibition: Animal Power
Montoro12 Gallery, Brussels

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Inhale-Exhale
Permanent exhibition: Periferia
Hyytiälä Forest Station 

April 2024 
Gustafsson&Haapoja: Embrace Your Empathy
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Croatian Association of Visual Artists 

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Gustafsson&Haapoja: Untitled (Alive)
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Pragovka gallery, Prague

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To Be Given Over
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Reykjavik Art Museum, Iceland

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Miettinen Collection, Berlin

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LECTURE
University of Oregon

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Exhibition: Visual Natures
MAAT Museum of Art, Architecture and Technology, Lisbon

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Gustafsson&Haapoja: Becoming
Bucharest Biennale

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Gustafsson&Haapoja: Siat – Pigs
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Gustafsson&Haapoja: Becoming
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Gustafsson&Haapoja: Becoming
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Gustafsson&Haapoja
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SAIC gallery, Chicago

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Gustafsson&Haapoja
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CCCB, Barcelona

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Helsinki Kunsthalle
Aisit – Senses

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Kindl, Berlin
Aistit – Senses 

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Maison Louis Carré, Paris
Aistit – Senses 

Feb 6 – May 9. 2021
SOLO EXHIBITION / Gustafsson&Haapoja: The Museum of the History of Cattle
Kalmar konstmuseum

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Kyoto University Arts Gallery @KCUA

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Gallery Forum Box, Helsinki

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HAM Helsinki Art Museum / Helsinki Biennial

Oct 10-Dec 16. 2019
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Gallery@calitz, UC San Diego

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The European Center for Art Upper Bavaria
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Sixty-Eight Art InstituteCopenhagen, Denmark

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Wäinö Aaltosen Museo, Turku

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Coexistence
Kiasma Museum of Contemporary Art, Helsinki

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The 8th Floor, New York
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Ecology as Intrasectionality– Radicalising Arts of Climate Justice
NYU Barney Bld, Einstein Auditorium, New York 7pm

Feb 2-24. 2019
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Earth Rights
Kunsthalle Turku

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Kenyon College, Ohio

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And Tomorrow And
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Turner Contemporary, UK

April 27. 2018
TALK
Why Do Animal Studies Now
Conference, Chicago

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Queens College, Social Practice Queens, New York

Feb 11. 2018
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Unlearning Dystopias – Ecotopia
Art in General, New York

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Beyond Binaries – Towards New Constructs of Personhood and Gender
ISCP New York

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Salon Dalhman, Berlin

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Museum of Nonhumanity
Momentum Biennale, Norway

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Closed Circuit – Open Duration
Chronus Art Center, Shanghai

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Chronus Art Center, Shanghai

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Next Helsinki – Public Alternatives to Guggeheim’s Model of Culture Driven Development
Institute for Public Knowledge, NYU, New York

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Animal Mirror
ISCP New York

Oct 14 – 16. 2016
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Creative Time Summit DC

Sept 1-30. 2016
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Helsinki

Haastattelu: Maailma on Eläinten työllä rakennettu 
Eläinoikeusakatemia, 2024

“We Belong to the Microbes”
Ferment Radio, 2023

In the Studio: Terike Haapoja
Collectors Agenda, 2020
Text Rasmus Kyllönen

‘Art as a practice of vulnerability’
– A Conversation with Terike Haapoja of the artist duo Gustafsson & Haapoja

Metropolis M, 27.01.2021. Text Alice Smits

Interspecies Politics, Animality and Silence
Terike Haapoja and Pablo José Ramírez in conversation
In: Infrasonica, April 2020



Witnessing Mortality
– On Duration, Being-With and the Anthropocene 
Heather Davis in conversation with Terike Haapoja 
In: Vulnerability, Animality, Community (Garret, 2020)


HD: How did you come to work on these subjects and themes, of animals and natureculture and mortality? 

TH: I grew up in the countryside where I was completely immersed in a natural environment that was inhabited by all kinds of species. When I started to work with art I always had an issue with visual representations as two dimensional images, because I felt that a kind of spatial material connect- edness to my surroundings was far more accurate a reflection of how I actually experienced reality. At some point I then discovered imaging technologies such as the infrared camera, and that was the first media that I somehow got, because it reveals its quality as a mediator. You can’t look through it; instead you face a very material surface that’s translating the reality outside your senses. So the question of how we know the world through these sensory interfaces was already there. Entropy was the first video work I made with this technology. I still feel it’s really important to me. 

A more personal path to that work is that there was a death in my family at the time and I felt an urgency to deal with the experience. Through this work I tried to understand this process of someone being a subject and transforming into being an object, without anything visible changing, a process that is almost incomprehensible to us, and to make it tangible. 

I think these two approaches, the formal and the personal opened a door to a lot of things that then followed, that had to do with how to interpret external reality and how to engage with the world beyond our experiences or beyond our understanding through these technologies, but also with how our connection to the world is deeply human in that it is emotional and personal, too. 

HD: I was looking back through your work and reading this beautiful book, which is actually a long conversation between Donna Haraway and Thyrza Nichols Goodeve. In it Donna Haraway says: “From my point of view the affirmation of dying seems absolutely fundamental. Affirmation not in the sense of glorifying death, but in the sense – to put it bluntly – that without mortality we’re nothing. In other words the fantasy of transcend- ing death is opposed to everything I care about.”1 And I think that this really resonates with your work, especially with your earlier work includ- ing Entropy, The Present, Community and Inhale – Exhale as well as the fetus images in Mind Over Matter Over Mind. 

There is something really interesting about the ways in which you are taking up the processes of mortality. You require the viewer to actually sit and be with the creature who is losing heat, who is going through this process of death. I was really intrigued when I noticed that both Entropy and In and Out of Time are long: In and Out of Time is four and an half hours and Entropy is 25 minutes. Even 25 minutes is fairly long for a gallery piece. It’s a long amount of time for an audience member to sit and be with the work. But I think there’s something really important about that length of time. It forces this kind of witnessing and asks of the viewer to be in a temporal space that’s more akin to the reality of death, even though both of those pieces are still really sped up. There’s something about the fact of the works’ duration that I think is really important in terms of witnessing mortality. 

TH: The shooting of those pieces have always been like wakes beside the bodies I’m with. It was important for me to repeat that process in the work. I think that a very core function of art is to provide interfaces through which we can be in relation to that which we cannot understand. In that sense it has to do with spirituality. I’m not religious, but I think these metaphors or these symbolic spaces allow us to form a relation to something we cannot ever rationally or cognitively understand – things such as the disappearance of subjectivity, which we can never really experience. 

HD: It is hard not to see these works without thinking of the ongoing massive extinctions of plants, animals and human entangled ways of life. The extinction of a species is often visualized not as the death of a particular individual, but as the disappearance of a mass, a genus. And what I like about your approach to this topic is the way you’re asking the viewer to be witness to the death of a particular creature. I realize that some of the infrared works aren’t necessarily directly related to the theme of extinction, but Community, which is kind of an amalgamation of much of the infrared works, is. When you’re asking the viewer to witness the transformation of a creature from subjectivity to a community of bacteria and other creatures that start taking hold of a body after it’s no longer its own… there is some- thing about being with an individual that I think implicates the viewer in a different way than witnessing something en mass. 

TH: I think forming emotional connection is necessary – I don’t know if you can say it’s necessary in order to evoke action. It’s not action that I try to evoke with my work directly, especially not with these works, but rather some kind of emotional connection that’s related to one’s own body and one’s own life experience as a being. It’s not anthropomorphization, it’s more a realization of the fact that we are bodily and that is what we share. 

HD: The way that you approach these questions of mortality and the limits of knowledge, and the cyclical nature of time are infused with a lot of ethics, and Emmanuel Levinas’ thinking in particular. You even cite him when you say, in relation to The Presence: “The French philosopher Emmanuel Levinas describes the inner sense of time as a foundation of an ethical encounter. The other is not merely an object in my time, she or he also has a past and a future that are not accessible to me.” The passage from life to death in a lot of ways is the passage from being in time to no longer being in time, to not being bound by the passage of time. I think that there’s also a way in which you ask the viewer to just be in this durational moment with another creature. Despite the fact that Levinas never extends his ethics to other creatures I think there’s something about the ways in which he conceptualizes ethics that seems to inform so much of your work. 

TH: His ideas have been important, especially exactly those parts of his think- ing about time. Another book that affected me a lot back when I started my studies was Roland Barthes’ Camera Lucida. It’s kind of an art school cliché. But it contains the kind of analysis of a medium that is about our existential being in the world that I felt I could relate to as an artist. He doesn’t just provide a semiotic theory, but opens up this space where it becomes visible how meanings are bound to our emotional, human exis- tence in the world. Through my early experiences of nature I’ve gained a very strong sense that this kind of being in the world is something that exists for all life forms, not just for humans. 

HD: In “Involutionary Momentum” scholars Natasha Myers and Carla Hustak talk about orchids and Darwin, and the ways in which Darwin had to embody the movements of an insect in order to get the orchids to react. There’s a communicational system that is real amongst all kinds of non-human crea- tures, including plants, where they can warn other plants about the infesta- tion of particular insects and alter their bodily chemistry in order to get rid of insects that might be feeding on them. There’s such an amazing respon- siveness and a kind of knowledge about the world in them that it’s hard to think that the ways in which we use language are exceptional. 

TH: The exhibition Closed Circuit – Open Duration was really a manifestation of the idea that when beings are born into time they are also born into mean- ings and meaningfulness. There was one work that was not really an inde- pendent piece but it was still very important for me to include in the exhibi- tion. The work consists of a video animation of a quote from the book Writing by Marguerite Duras. In that particular chapter she is trying to describe witnessing the death of a fly. It’s as if she’s trying to access that experience through language, and even if it’s impossible it is still a trial to bring meanings into a shareable form. I wanted to address this aspect of existence also, and not just our material connectedness. Natural sciences work so much on a reductionist basis where everything you can measure is pulled into the cumulative system of knowledge. And I feel that’s also one reason why, even though there is a danger of anthropomorphization, it is still very important to address the subjective and the particular, too. 

HD: Bruno Latour has talked a lot throughout his career about the liveliness of the ways in which scientists describe the creatures that they’re work- ing with. Despite the fact that there is this tendency, within a Western scientific epistomology, to say that this or that is just an automatic response, in the writing of the scientific documents there are moments where the liveliness of the world betrays the impulse to scientific objectivism. For Latour there’s always a tension in scientific work between those two modalities. I think a lot of scientists, especially biologists or ethologists study what they do because of the fact that they are deeply attached to these creatures or plants. 

Philosopher of science Vinciane Despret describes the ways in which the creatures that scientists are working with have meaning systems and have their own schematics of interpretation. Lab rats, for example, are actually interpreting what you are doing to them, and have their own meaning systems around what the experiments are. But they can get bored and start to be uncooperative, so coming up with better scientific results is about develop- ing a relationship with an animal. In the case of Darwin and his orchids, he’s developing a relationship with an orchid while trying to figure out what an orchid will respond to and what an orchid won’t respond to. It actually requires that kind of deep engagement that I think necessarily has to also be emotional, even if in the scientific literature that part often gets taken out. 

Could you describe what it was like to put together the Closed Circuit – Open Duration show and your collaboration with the scientists? 

TH: I had been working with infrared and ultrasound imaging technologies in the works that dealt with disappearance and death and that which is beyond life. Then I started to think that I want to use these scientific media as interfaces between organic processes that you usually see as somehow inert or dead – which of course they are not – and to allow for a real-time ethical relationship with the work and the viewer to take place. I started to work on this exhibition in 2007, and at that time there was not that much discourse around these issues. I first exhibited this show in 2008, and updated the work for the Venice Biennale in 2013. 

During the initial research I found these incredible people from Helsinki University, such as ecologist Eija Juurola and engineer Toivo Pohja, who has been hand-building measuring devices for Helsinki University’s Hyytiälä Forestry Field Station for decades. It was fascinating to see how, for exam- ple, research on the carbon cycle is conducted through these small scale experiments where they measure the fixing of carbon from a single branch of a tree, and then make this huge generalization of that data. Science is so much about making generalizations. In that sense, the particular tree func- tions merely as a foundation from which that general knowledge is then extracted. I, in contrast, was interested in the particular experience of a particular tree, because our common sense experience of trees is that they are individuals like us. 

The same is true with the work Inhale – Exhale. I ran into this concept of soil respiration that is used in forestry research for describing the process of decomposing, and how in that process carbon is released back into the atmosphere. I found that notion extremely poetic. I started to think of carbon flow and of the fact that we are stardust, as Joni Mitchell puts it. I am part of the carbon cycle and my mortality is a by-product of that cycle. But what my mortality means to me is not something scientific, but very personal. So I created this sculpture that would offer a way of internalizing what the carbon flow means for us as humans, that would include the sceintific reading as well. 

HD: There’s something that I have be interested in lately, which is that our imaginations are increasingly framed by the figure of the molecular. We think about gender in relation to how much estrogen or testosterone we have in our body, we think about the climate through how much carbon or methane is there. I think one of the reasons there is a lack of action around things like climate change is that when you say carbon and methane, or talk through the figure of the molecule, it’s such an abstract thing. I think that what is really interesting about Inhale – Exhale and Dialogue is the ways in which you develop a personal relationship to a molecule. In doing that you actually show how it’s not just about this molecule, but that we’re connected through this cycle of decay. I find it a really potent image. It is anthropomorphizing to a certain degree, but I think that it has to be; we are human after all. There are limits to our understanding. 

The early 20th century biologist Jakob von Uexküll describes the way in which each species has its own world. In Uexküll’s thinking species’ worlds overlap, but they remain distinct. The idea of there being one world is thus false: there’s actually multiple worlds that co-exist side-by-side, intertwined and entangled. Humans live in a world that’s particular to us, because of the ways in which we are able to sense and perceive our environment. Each creature has its own world, and it’s important to recognize that we are not going to be able to move out of our own sensoriums completely. However, I often think of trying to see or feel through other creature’s sensations is a kind of active empathy. This is what a lot of our technologies allow us to do – to extend our sensorium. I also think that that is what your work asks us to do, to make connections with plants and animals on an emotional scale that are enabled through the apparatus of technology and art. I realize that there is a danger in this move, a danger of subsuming the other into the self, but it’s also about trying to find a connection, a shared meaning or commu- nication. And it’s clear, from anyone who has ever paid attention, that it is quite possible to communicate across species. 

HD: There seems to be a difference between some of your earlier work, like the Closed Circuit – Open Duration exhibition, and all the earlier infrared works, and the newer works which are more directly political, like the work by Gustafsson&Haapoja and also The Party of Others. What sparked you to make that kind of turn in your work, or do you see a continuity? 

TH: It’s kind of continuous. After working on the Closed Circuit – Open Duration exhibition I started to feel, again, frustrated by the limits of working in the white cube and making these prototypes of theory. The whole exhibition was a manifestation of my world view in a way, a manifestation of what I thought of as an intertwined, more ethical relationship with the non-human world and our own mortality. I do think that the kind of poetics that these works hopefully can put into play is affecting people and has a political effect. 

But if you think about what actually defines our relationship with the non-hu- man world, it is the law and the way in which the non-human world is actually represented in our decision making processes. And then you can easily see that notions of nature-cultures or hybridity are absent from those structures that in practice define our possibilities to interact with the non-human world. It made sense to look to legislation and parliamentary decision-making processes as sites where nature is really created as “the other”. Because that’s how it is: everything in nature is still considered to be a legal object, whereas almost everything human-made is considered to be a legal person. So I started to look into what it would look like if we brought these radical thoughts into the realm of decision-making. In that sense The Party of Others is a continuation of that line of thought. It’s a utopian project and a platform for thinking of what could be an utopian model of governance where everybody would be represented equally. Of course it’s a way of showing the limitations of representational democracy: a way of demonstrating how the core structures of our society are based on exclusion and how the idea of inclusion is not compatible with the basic idea which is essentially premised on the division between humans and nonhumans. It was a way of looking at how these theories actually radical- ize our whole notion of the state and the nation state, and the way we govern our reality at the moment. 

HD: When you staged the participatory performance The Trial, what were the arguments that were given and how did the jury members react? 

TH: The Trial was a play. We had actors who performed the parts and a script, 

the rights of nature into our legal apparatus. I do think that law is a kind of ultimate reality-creating interface. Art is always somehow distanced from reality and everything you do in art becomes a representation. The only place where you can actually make reality is if you make laws. Because that’s where reality is somehow affected directly or created. The Trial was an attempt trial to show how, if you actually have a different kind of a matrix, a different kind of vocabulary through which you have to make the verdicts, how it actually would change our practical reality. I’m continuing this line of thought through a new project called the Transmodern-Modern Dictio- nary, which is a spin off from The Party of Others project and aims at introducing more ecocentric concepts to Western legislation through collaboration with Indigenous language groups. I do feel that I approach law exactly the same way as I approach an infrared camera: it’s a very material medium that somehow allows us to be in a relationship with the outside world. 

HD: I was just reading about the Transmodern-Modern Dictionary. The new concepts that are used in workshops to rewrite selected passages of relevant local legislation in order to demonstrate how ideas really change political reality is a really brilliant intervention. It highlights the way in which the law itself is a representative medium and how people – judges and lawyers and legislators – are interpreting it constantly. So there’s always this process of representation and interpretation which is happening. The idea of changing the language to demonstrate how that would force a shift in policy is such an interesting idea, because it really ties in with notions of performativity of language itself and how that performativity is so mate- rial. 

TH: We’ve worked very closely with the local community and have tried to be conscious about not just going somewhere and extracting some kind of artistic content from the local people. It’s more of a platform than an art work, though there is this poetic element of translation that I’m really interested in: How to translate thoughts between languages and between cultures, from non-human realities to this very human construct of law. I feel that my expertise is in tweaking that part, which is something that the activists or the legal scholars won’t be focusing on. 

TH: Back when I started to work on these issues over ten years ago, the scene was very marginal. The mainstream art world really didn’t talk about these issues: definitely not about animals, but not even about the Anthropocene or climate crises. All of that was introduced later, in 2006 or 2007. How do you see the whole discourse around the Anthropocene and the booming of all these themes in the arts in recent years? 

HD: I feel that it’s so present in art and contemporary theory simply because we can no longer ignore it. It’s not that in the early 2000s things were sig- nificantly better, but I think that there’s just a growing realization of the situation of ecological crisis. We are now seeing the immediate effects of climate change in a very real way, and are living through the sixth mass extinction event. So ecology becomes an important thing even to people who might not be drawn to these themes otherwise. Philosopher Isabelle Stengers talks about the ways in which “Gaia intrudes,” and I think that this is precisely what’s happening. Gaia is intruding on our imaginaries and our world – on the climatical world, environmental world, social world, on our political worlds. For me, the fact that artists are taking this up is a really good thing. 

Even if it’s incredibly important for there to be political action, I also think it’s important for us to grapple emotionally and psychically with what is happening. Art is one of the best places to do that, because it holds a space where you can have what media theorist and curator Joanna Zylisnka has called an “a-moral response”. She doesn’t mean it in a sense of immoral, but in the sense of a space that can be held together in contradiction, a space of contested realities. I think that in order for us to really begin to imagine the world that is going to be confronting us, we need to have a plurality of vision. For me art is one of the best places to do that. 

TH: It took, depending on how you count it, 400 or 2000 or 10 000 years (laughs) for us to get into this mess. It’s going to take a while for the paradigm to actually change. It’s not going to be over in the next 50 years. Collective thinking is slow. In that sense I feel that I can try to be rigorous in this tiny little space I have. It can effect change only so far, but we can still think that we are part of a bigger wave and that maybe in 100 years or 150 years it will have achieved something. For me this is a good way of not becoming desperate, but also of not freeing me from responsibility. It gives me a place of relief, personally, where I still can be satisfied with doing what I do, and feel that if I can just do the tasks at hand well, that’s enough. 

HD: There’s something good in thinking about these kinds of time scales, and 

in the long duration and being-with quality of your work–of certain videos, like Entropy, but also in terms of projects like The Party of Others and Transmodern – Modern Dictionary. They are taking that long view. Under- standing oneself as just a small part of a much larger system is helpful in terms of orienting ourselves to a much longer term politics. There is a necessity in thinking about political action as sustainable, sustaining over a long period of time. 

TH: I do think it’s important. I was just talking with my father, who is a sculptor. My childhood home is in the woods, and that surrounding has affected both of us very deeply. He said that that presence of that forest is so important to him because it constantly reminds him of eternity, in that silent indifferent way that nature does. And that for him art is a way of managing his relation to that eternity. It’s a very beautiful way of putting it and I can relate to that. 

HD: I love the expression “the silent indifference of nature.” I think that’s something that’s important to keep in mind, when dealing with all these other questions. 

TH: I think that’s a good place to stop. 



Heather Davis is an assistant professor of Culture and Media at Eugene Lang College, The New School. As an interdisciplinary scholar working in environmental humanities, media studies, and visual culture, she is interested in how the saturation of fossil fuels has shaped contemporary culture. Her recent book, Plastic Matter (Duke 2022), argues that plastic is the emblematic material of life in the twentieth and twenty-first centuries, showing how intimately oil has coated nearly every fabric of being, how the synthetic cannot be disentangled from the natural, and how a generalized toxicity is producing queer realities. She is a member of the Synthetic Collective, an interdisciplinary team of scientists, humanities scholars, and artists, who investigate and make visible plastic pollution in the Great Lakes. She is the co-editor of Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies (Open Humanities Press, 2015) and editor of Desire Change: Contemporary Feminist Art in Canada (MAWA and McGill Queen’s UP, 2017).


Lecture at Museum of Impossible Forms, Helsinki, 5.11.2024.
Lecture at Puistokatu4, Helsinki, 26.2.2025 (in Finnish)
Presentation at Sonic Acts Academy, 2020.
Presentation at Creative Time Summit DC, 2017.
An interview with Laura Gustafsson at Taipei Biennale, 2018.