HYPEROBJECTS TIMOTHY MORTON PDF

Chris Jordan "Light Bulbs" depicts , light bulbs, equal to the number of kilowatt hours of electricity wasted in the United States every minute from inefficient residential electricity usage inefficient wiring, computers in sleep mode, etc. Chris Jordan and Rebecca Clark "Silent Spring" depicts , birds, equal to the estimated number of birds that die in the United States every day from exposure to agricultural pesticides. Chris Jordan "Paper bags" depicts 1. In , I invented a word to describe all kinds of things that you can study and think about and compute, but that are not so easy to see directly: hyperobjects.

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In his book, Hyperobjects: Philosophy and Ecology After the End of the World, Morton defines hyperobjects as entities that are huge—global warming, plastic in the ocean, nuclear waste—and seemingly incomprehensible. Morton argues that hyperobjects create an ecological awareness far beyond normal human comprehension. To understand a hyperobject, we must transform the way we see and experience the universe.

In line with this idea, the exhibition sought to create encounters with artworks and non-art objects that de-centered and expanded the scale of human perception.

Via aesthetics, direct sensory experience, speculative explorations, and fluctuations in scale, the artists in Hyperobjects reflected various facets of this monumental theory. Tara Donovan realized a site-specific iteration of Untitled Plastic Cups , a work where she applies sculptural process to the fundamental properties of an object, in this case a plastic cup, at a scale that transforms the cup into something else entirely.

Megan May Daalder showed her Mirrorbox, a wearable double helmet invented by the artist to reflect and combine the facial features of participants, breaking down perceived boundaries between self and other. Sissel Marie Tonn installed a new configuration of her Intimate Earthquake Archive, allowing visitors to wear vests that transmit seismic data from man-made earthquakes caused by gas drilling. Ballroom Marfa collaborated with local, regional, and national research organizations on a slate of supplementary programs that responded to the exhibition and connected participants to the singular ecology of the Trans-Pecos.

Le Guin and many more. Published by Ballroom Marfa and the Creative Independent. In-kind support provided by Big Bend Brewing Co.

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Hyperobjects: Philosophy and Ecology after the End of the World

Morton explains what hyperobjects are and their impact on how we think, how we coexist, and how we experience our politics, ethics, and art. In Hyperobjects, Timothy Morton brings to bear his deep knowledge of a wide array of subjects to propose a new way of looking at our situation, which might allow us to take action toward the future health of the biosphere. Crucially, the relations between Buddhism and science, nature and culture, are examined in the fusion of a single vision. The result is a great work of cognitive mapping, both exciting and useful. But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art. Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place.

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Introducing the idea of ‘hyperobjects’

View Citation summary Having set global warming in irreversible motion, we are facing the possibility of ecological catastrophe. But the environmental emergency is also a crisis for our philosophical habits of thought, confronting us with a problem that seems to defy not only our control but also our understanding. In this book, Morton explains what hyperobjects are and their impact on how we think, how we coexist with one another and with nonhumans, and how we experience our politics, ethics, and art. Moving fluidly between philosophy, science, literature, visual and conceptual art, and popular culture, the book argues that hyperobjects show that the end of the world has already occurred in the sense that concepts such as world, nature, and even environment are no longer a meaningful horizon against which human events take place. Instead of inhabiting a world, we find ourselves inside a number of hyperobjects, such as climate, nuclear weapons, evolution, or relativity. Such objects put unbearable strains on our normal ways of reasoning. Insisting that we have to reinvent how we think to even begin to comprehend the world we now live in, Hyperobjects takes the first steps, outlining a genuinely postmodern ecological approach to thought and action.

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