[-empyre-] What's in your carrier bag?

[Lissette Olivares]

--empyre- soft-skinned space--Dear Lucian, Lucia, Whitefeather, et al.

What a lovely way to watch the discussion bloom with your posts Lucian, ruderal 
and multispecies magic indeed! There’s so much you animate, from the way ritual 
is transmitted through the kinship bonds extended by your partnership with 
Brad, and his ntimate sharing of indigenous technologies of consciousness, to 
the humility of your approach to these traditions, I love the way you apply 
multispecies worldings to the historical specificity of the migration patterns 
from your ancestors, and the way you remind us that we are just trying to make 
sense of the world into which we were born.  There’s so much more to unpack in 
your posts, I need to print them and underline, to work with the dense matter 
they present, things I haven’t yet had the chance to do, so this will be a 
quick response while I also muster the courage to respond to your invitations 
to speak more about Luk Kahlo, our poodle, and our extended more than human 
family, as well as the transmedia storytelling we aspire towards with our 
collective approach.

Lucia, I am curious to know more about whether anyone reported feeling better 
or having wellbeing in their chosen body parts which were involved in the 
burial of the agar casts? Last year I received a reiki ritual over the phone 
and despite the utmost respect I had for the practitioner, I was dubious as to 
whether it would actually help the pain in my arm, to my great surprise, the 
session healed my arm for almost a year! (Thank you Natasha)

Whitefeather, your reminder that we must be accountable to the worlds from 
where the matter we work with comes from, especially when based in the (so 
called) North is so important. It leads me back to Lucian’s earlier posts, 
about requesting permission from Terra and giving thanks for their gifts.

 In terms of cat’s cradling, I would like to return to Ursula Leguin and Donna 
Haraway, who recently received a lifetime achievement award, and who spoke 
about carrier bags and carrier bag storytelling, and who was presented with 
tales of what is carried within those bags by many of her devoted scholarly 
companion species and open the question to those participating in this 
conversation, what is vital to your witchcraft? What and who do you carry in 
your carrier bag? 

___
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http://empyre.library.cornell.edu

[-empyre-] Caitlin Rose Sweet

[Lissette Olivares]

--empyre- soft-skinned space--Technological interferences from mercury in retrograde shouldn’t prevent us
from enjoying Caitlin Rose Sweet’s introduction.

-- Forwarded message -
From: Caitlin Rose Sweet 
Date: Wed, Nov 13, 2019 at 11:26 AM
Subject: my intro piece
To: Lissette Olivares 


Hey y'all I've been enjoying all the intersecting threads of dialogue. I am
Caitlin Rose Sweet, daughter of a midwife and craft artist who was born in
the rolling hills of Appalachia (Osage Land). I live in Brooklyn (Lenape
Land) and beginning my transition to living in the Catskill Mountains
(Mohican Land). I am a working craft artist, I make ceramic ritual vessels
to enhance practices of self care and resistance. For the last few years my
work has been focused on cannabis smoking pipes, i see cannabis as a way to
create temporal rifts in the constructed liner space of the patriarchy. My
smoking vessels are sex and body positive and are tools for queer babes to
get high and feel themselves. Recently I have been shifting to larger
ritual object such as chalices and altar pieces.

I am invested in talking about my art practice as craft because craft has
embodied in it a certain class politic and open relationship to the body.
Craft sees the skilled hand as a thinking hand, one that gathers
information from the repetitive intentional contact with the material and
the world at large. How one touches and what they touch informs how they
make. As a queer person my hands are sites of political resistance and
sexual pleasure, making my ceramics infused with my sexuality and political
dissent. I use my lived experience with queer collectivity and abundance to
counter homophobic narratives that the queer life is a lonely life. I’m
expressing what happens when queer bodies come together, the sensation of
the singular body becoming the collective body.

My practice is entanglement of feminism, queer theory and decorative art. I
focus on how domestic objects create and maintain cultural identity
throughout time. Ceramics is archival material and I think about my work as
recording the affect of queer life that will serve as future artifacts.

I explore failure as a generative space to radically reimagine bodies,
femininity, and ceramic practices. I am constantly poking holes into social
constructs of what constitutes a good body and proper craft techniques. My
work is messy, this sloppy craft is an expression of my refusal to
assimilate. It speaks of a matrix of haptic knowledge rather than the
mastery of traditional objects with fixed and inevitable functions.

The term ruderal is new to me, as an earth and void witch i love how plants
can come into spaces wrecked by humanity. My partner and I recently bought
a home with 8 acres of land in Cairo, NY. The land was turned into farmland
by the colonializers, the large farm was broken up into smaller plots with
the highway was built. Then in the 90’s a severe storm took down about half
of the trees, the previous owner (an ex cop and conservative republican
local politician) harvest some of the fallen trees for firewood but left
most of it to rot in the woods. Most significantly he did not replant any
trees. He just created about 3 acres of lawn. And now i am process of
preparing to slowly replant the woods and turn the lawn into a meadow and a
series of small gardens. Though our place is not an actual waste land it
feels like an emotional wasted space. The whole american obsession with the
perfect monocrop of “yard” and how it represents being middle class and
controling the natural world. I am seeing this “rewilding” as a labor of
duty to restore this suburban wasteland into a thriving ecosystem. A way to
make mends, to be of service to the land that has been exploited and
neglected. I am not approaching the land as a resource for me, like what
plants can I grow to feed me but seeing myself as a resource for the land.
What does this ground need to thrive? What plants do the songbirds need for
food and shelter?

Currently the word witch is have a trendy moment, which in some ways is
amazing but also leaves me with some guarded skepticism. I grew up in a
time and place that it was unsafe to talk about any spiritual practice that
wasn’t christianity. Coming from a Jewish family was enough, but being a
self proclaimed teenage witch was a no go. So I have and always will be a
lone witch who is actually very private about my actual practices and
deities served. I do believe that being a witch is an acknowledgement of
the Multiverse and the existences of energies that move between and through
all things. If is also a stance of politician resistance. Witches are not
well behaved and operate outside of cultural law.
___
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[-empyre-] Remembering the white rainbow

[Lissette Olivares]

--empyre- soft-skinned space--
The sky was dark, illuminated only by yellow orange artificial light - snow and 
wind pierced through the air as my entire world threatened to fall apart on 
January 11th 2011, as mi amorcito Luk Kahlo underwent another surgery to try to 
save his life.  It was that night, as we awaited a call from his surgeon, that 
the white rainbow came.  In that spiral of snow and bitter cold, in the middle 
of NYC’s samsara, we looked at each other and death did not exist, and for a 
moment, we felt calm, and then exuberant.

It is no coincidence that on November 11th, 2019, almost eight years later, we 
begin an incantatory series of conversations to reconnect with the enchantment 
of Terra as we dare death again in the midst of intense global wounding that is 
neither new, nor nearly at its endpoint yet.

As I attempt to seduce you into this conversation I know that you are probably 
reeling from the bad news, the sadness, the suffering, which is ubiquitous 
everywhere, and maybe even in your own body. We hurt. We are taking care of 
others in pain. For me, each week the amount of time I have to work with seems 
to spiral further out of control, to be able to care not only for those I love, 
but also to offer the basic care I need for my own body. Nonetheless I resist 
wearing a watch to manage my time because I cannot help but trace its 
functionality back to the dawn of capitalism and affiliate its technological 
complicity in the invention and management of wage labor.

It seems to me that capital and accumulation have bewitched us for at least 
five hundred years. I will never forget the fervor with which Peter Lamborn 
Wilson insisted that capitalism is evil, an evil possession, and that to try to 
approach it rationally would never allow us to exorcise its grip over our 
lives. Undoubtedly the insatiable hunger and drive for gold and silver and 
surplus and power and superiority and now metadata has cast its curse upon 
earth beings relentlessly. It is worthwhile to remember Marx and his 
theorization of commodity fetishism, where he reveals how strange the commodity 
is, with its “metaphysical subtleties and theological niceties.”

Every time I am searching for a way to understand how to heal from colonial 
wounding, how to mobilize collectively while appreciating the pluralities each 
of us carries within and beyond, I turn to Gloria Anzaldúa. I am grateful to 
Katie King for giving me the trace to Anzaldúa’s theorizations of nepantla and 
nepantlera, Náhuatl terms that Anzaldúa activates for elaborating what she 
calls a new mestiza consciousness.

“Nepantla is the Náhuatl word for an in-between state, that uncertain terrain 
one crosses when moving from one place to another, when changing from one 
class, race, or sexual position to another, when traveling from the present 
identity into a new identity.” (Anzaldúa 2009, 180) *[1]

Mariana Ortega offers a nuanced study of the polysemy of Nepantla in Anzaldúa’s 
extensive work and argues that it is the tolerance for ambiguity and 
contradictions which Anzaldúa finds absolutely necessary for the new mestiza’s 
possibility of transformation and resistance. (Ortega 2016, 27) By calling out 
to Nepantla I also attempt to identify the middle world within each of us, the 
contradictions and complementarities that spin together from Coatlicue’s cosmic 
wind, breathing change and transformation through our bodies. After reading 
about this I am convinced that yesterday it was Coatlicue’s’ winds that 
anointed me with the new name I have been seeking, Ciclón, a windy storm that 
emerges from the naga’s loop.

Let us then be intoxicated with Anzaldúa and practice from the middle world, 
what the jhankris of Nepal call Guru Gom, as I invite you to collectively 
naguahl, to shapeshift, with this group as we share methodologies.

In the midst of the extractive pain and in search of the magic, which we cannot 
forget also abounds on Terra, I feel the need to call upon fellow practitioners 
who are devoted to technologies of consciousness, who will help us to 
decolonize mind and body with their own customized toolkits. More than just a 
conversation, I am confident that we will be mobilizing our shared breath, our 
prana, in an effort to heal one another, that we will join forces and leave a 
haunting on this technological platform.

[1] Cited in Mariana Ortega in In Between: Latina, Feminist Phenomenology, 
Multiplicity, and the Self, NY: SUNY Press, 2016, pg 27.

___
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Re: [-empyre-] Welcome to Week 2: CONJURING RE-ENCHANTMENT: CURSES, HEALING, and RITUAL ACROSS NEPANTLA

[Lissette Olivares]

--empyre- soft-skinned space--Dear -empyre-, 

so excited by the conversations so far, by the tremendous effort and knowledge 
of week 1 and the looming questions we must contend with…the concept of ruderal 
witchcraft to begin with, an offering by Oliver I am still hoping to continue 
activating, I was so struck by Marisa Prefer’s reminder that we are in the 
waxing moon in Capricorn, by their sensibilities about Red Hook’s ocean water 
who is reclaiming a space once called home, and by their introduction to 
Spartina, a plant feared as invasive, whose roots sends texts that stimulate 
microbial expansion in the crust of the earth…as well as with their 
sensibilities to the way we contend with the limitations of binary language and 
structures, where natives and invasives are categorized as oppositional…I am 
eager to learn more of the history of European witch-hunts and wonder if 
contemporary so called invasive hunts being practiced across Abya Yala now 
might be triggered by parallel conjunctures. I love the idea of a rude ruderal, 
a growth with side eye to the idea of a pure or undisturbed past, and am eaten 
away by Whitefeather's “leave it the fuck alone” transmission and the question 
if the slow violence of ecocide can be healed only over extended time lapses, 
beyond those perhaps that we as homo aspens may be able to experience…There is 
so much to respond to, there are lagoons between these reflections, I will 
return...each post has been a world I want to swim within, and I hope that my 
carrier bag of queer kin will help us to digest the muck, as we slowly begin to 
receive and respond to the posts of -empyre- please forgive our delay. Please 
also accept my apology for a missing discussant and sibling who got cut from my 
curatorial care, Lucian O’Connor, whose bio, I attach now, here.


Lucian O’Connor (Irish American in Továngar) (they, them, theirs and he, him, 
his)

Lucian O’Connor is a critical theorist and artist who lives in
southern California. They hold a master’s degree in Performance
Studies from NYU (2003) and a doctorate in History of Consciousness
from UC Santa Cruz (2012). Research interests include semiotics,
decoloniality, evolutionary biology, aesthetics, the history of ideas,
and ethnography. While not working, O’Connor enjoys hiking, gardening,
and spending quality time with loved ones.

As for the incredible guest only recently introduced,  Joan Haran, your 
invitation to cat’s cradle with Donna Haraway, Starhawk, Niamh Moore, Maria 
Puig de Bellacasa, adrienne maree brown, et. Al thank you..let us continue to 
share constellations and trace collective dreams with our stardust.

Ciclón

___
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Re: [-empyre-] invasive species

[Lissette Olivares]

--empyre- soft-skinned space--A curious lurker here invested in the discussion/actionism of both mycelium as 
collaborator and networked activisms, and although I (we) are somewhat 
overwhelmed by the intensity and breadth of the discussion, just wanted to add 
a few things. Love what Elaine offers, that the term non/native is itself a 
colonial binary that is violent. If we understand all earth beings as always 
already relational, which is becoming clearer through the collision and 
collaboration of a range of knowledges, from indigenous studies to 
science/speculative trans*feminisms, the task nonetheless remains, of how we 
might re-envision, re-make our shared agencies, this seems to be a common knot 
amongst many here. In our work the category of the human is already a troubled 
and recent taxonomic invention, it may undo these relational concerns more than 
highlighting them, although serious indigestion emerges when eschewing the 
human seems to reactivate this question of “elites” who are the ones 
accessing/intervening within these emerging discourses, yet, I (which is always 
already a relational we) feel like we have to really begin taking it, the 
human, and its shadow, Man, apart – historically, ideologically, and 
questioning if it’s a useful strategic essentialism. Wondering also where the 
limits of our relational kinship begin to fray. I’ve been told on more than one 
occasion that my/our concern for animals is constructed upon privilege. 
Initially I was thinking about this link between mycelium and activism, and 
thinking about how important more than just human activism is, how difficult it 
is, and wondering what kind of electronic disturbance tool could be invented in 
the service of the migrant animals and myriad others who are also becoming 
climate change refugees. What kind of poetry could mycelium write? In our 
recent work a unique way of sculpting mycelium with folded paper was 
commissioned from a recent architectural graduate, Luba Valkova, to help us 
create a transition home for squirrels in rehabilitation. It’s always seemed to 
me that our furry (and smooth) & feathered kin really appreciate how we use our 
hands to exchange affect, our opposable thumbs should be used in the service of 
fellow earth beings (thanks for the translation term Marisol de la Cadena) 
rather than as markers of human exceptionalism. Those children being separated 
from their families at the border deserve more from our hands, from our 
agencies, so do the turtles with the straws in their noses, as do the oceans 
being choked with plastics. There’s a new moon tonight. We will be whispering 
these hopes in their ear with drums, digital beats , and vocalized song.


Lissette Olivares
Co Director & Founder
Sin Kabeza Productions <http://www.sinkabeza.com/>
http://www.sinkabeza.com/architecture <http://www.sinkabeza.com/architecture>
Phone:(917) 213-9820
Email: lioliva...@fulbrightmail.org




> On Jun 13, 2018, at 4:13 PM, Aviva Rahmani  wrote:
> 
> --empyre- soft-skinned space--
> I am curious about specifics that record communication between species. The 
> biological argument for conservation pivots around function- not when a 
> species arrived in situ, but does it function within a niche that permits a 
> sustainably stable ecosystem? The European point of view on this is far more 
> liberal than the American. The former is open to millennia of migrations. The 
> latter is more protective of individual species that might be outcompeted by 
> newer arrivals, for example, how pasture grasses outcompete native orchids. I 
> think some of those interactive records can be tracked with acoustic 
> recordings and may be of interest. As far as listening, I have worked with 
> systems such as Bernie Krause and Pauline Oliveros developed, and am about to 
> participate in a water sonification workshop next week that will take place 
> at the Hubbard Brook Reserve in New Hampshire comparing research from 
> scientists, artists and policy makers on transposing the natural world 
> algorithmically. The sonification systems I use combine Interpretive 
> observations of satellite imagery and compositional software. I am interested 
> in the specific means people are choosing to decipher the abstract 
> relationships between species as they negotiate balance and place, not so 
> much in arguments about terminologies, tho I honor the semantic implications 
> of using the wrong words.
> 
> Aviva Rahmani, PhD
> www.ghostn...@ghostnets.com <http://www.ghostn...@ghostnets.com>
> Watch ³Blued Trees²:  https://vimeo.com/135290635 
> www.gulftogulf.org <http://www.gulftogulf.org/> 
> 
> 
> 
> On 6/13/18, 3:22 PM, "empyre-boun...@lists.artdesign.unsw.edu.au on behalf 
> of Elaine Gan"  ega...@gmail.com> wrote:
&g

[-empyre-] Eating dirt

[Lissette Olivares]

--empyre- soft-skinned space--As I opened my facebook today I saw a post from Che Gossett, whose 
trans*activism and archival research, mediated in part through their facebook 
feed is an inspiring and constant source of engagement/entanglement with the 
Black Radical tradition; they posted this last night: "there's a way in which 
animal studies reflections on animal suffering make legible and intelligible 
and empathizable the zero degree of unimaginable suffering that is never 
acknowledged or thought of when it comes to Black suffering.” 

I’d like to try to knot this to Margaretha’s question about what it means to 
make a radical eco aesthetics, with Randall’s  “radicle” (having roots) and 
Valentine’s becoming with edaphon, and her demanding question about "how we 
live in myriad relations without losing our shit.” Shit, soil, pain, trauma, 
slavery, capitalism, neoliberalism, colonialism, fossil fuel economy, and 
plastic in our water. Hurricane Maria and half of Puerto Rico’s population (at 
least 1.5 million people) without water, even if it does have plastic in it. 
Trees ripped out of the soil, a beach named after dead dogs where all the 
rescued satos died, and a nearby Monkey island where Macaques survived. 
Incommensurate pains, incommensurate traumas, a struggle to translate disparate 
affects across a myriad of diversity in bodies and places and times in a myriad 
of ways that makes it impossible not to lose your shit. I try to remember that 
this is not just now. I try to remember that we are not in a teleological 
movement towards an end, that the past and the present and the future collide 
and entangle and knot together, and I remember reading about Cortázar and his 
men and how surprised they were when upon making contact with the multitudes of 
deer in Abya Yala they thought them to be stupid because they did not flee, for 
the deer had not yet learned to fear Man; Man who is different than the 
indigenous societies who lived with and ate the flesh of these creatures, for 
Man, the Man of rational Enlightenment thought, the Man identified by Sylvia 
Wynter, Man whose superiority would wage a war of contagion, whose extractive 
logic would prey upon the land, upon the radicle, upon the ephedra and its 
creatures, creatures who are different than humans, creatures who are not the 
same as the anthropos. And I receive a flash from an indio, from a healer whose 
videos my partner watches on youtube, who teaches viewers to eat dirt from 
different sites to stay healthy, just a little sprinkle of dirt in my mouth for 
my micro biome, and for my ancestors, for the eight to twelve souls that Mohan 
Rai explained were there in my body, not one, not two, eight to twelve, but 
sometimes one or two get lost, and you feel it, you feel sick, and you have to 
call them back. He and Parvati Rai and Donaxing showed me how. Did you know 
there are tecnological sensors that find mass graves in the dirt, they can map 
bodies in the earth with light and translate it into color? Will a device one 
day claim to map the unimaginable pain, of and in Black, that Che brings from 
the universe and onto my computer? I hope I will be able to grind it with a 
mortar and pestle, I hope I will be able to place it under my tongue, I hope 
that it will download to that code that we have not yet discovered, that most 
of us mistakenly call DNA, that we believe we carry somewhere in our shell or 
our bone, to transmit for the next generation, for those who survive, for the 
Macaques and the others who will know how to weather the storm.

http://www.slate.com/articles/health_and_science/climate_desk/2017/09/half_of_puerto_rico_doesn_t_have_clean_drinking_water.html
 

https://www.theguardian.com/environment/2017/sep/06/plastic-fibres-found-tap-water-around-world-study-reveals
 

http://www.dailymail.co.uk/news/article-4931174/No-dogs-Puerto-Rico-s-Dead-Dog-Beach-survived-storm.html
 

http://discovermagazine.com/2015/oct/14-body-of-evidence 

> On Oct 4, 2017, at 8:31 AM, margaretha haughwout 
>  wrote:
> 
> --empyre- soft-skinned space--
> Hi all,
> 
> I am posting this for Randall, while we try and sort why his emails aren't 
> coming through:
> 
> 
> Hello all. I am looking forward to speaking with, and alongside, everyone. I 
> hope to think a bit about each of the separate concepts in this week's title: 
> Radical Aesthetics, EcoAesthetic Systems and Entanglements. This message will 
> focus on the first concept with the other 

Re: [-empyre-] Beginning Week 1: Radical Aesthetics, EcoAesthetic Systems and Entanglements

[Lissette Olivares]

--empyre- soft-skinned space--Dear Margaretha et al.

To begin with thank you so much for the invitation to participate in this forum 
and the opportunity to learn about the works of others in the struggle to 
destruct anthroposupremacy. Here are some reflections to feed the fire.

As I drove to work today I was pierced by the vision of three raccoons who made 
the fatal decision to try and cross the concrete division of the superhighway 
during a crepuscular rush of traffic.  I wince each time I see one splayed out 
on the concrete for I recognize all too well their position, the way their 
heads are gripped by their prehensile hands, the way their bodies curl in a 
type of fetal position, behaviors I have often seen them use to protect 
themselves. Their bodies are fresh additions to what feels like a never ending 
tally of woodland creatures who I try to make note of daily, as a small ritual 
of remembrance, a conscious effort to not just look away, to not just deviate 
my attention while participating in my own daily grind of survival. Yesterday, 
in the early morning hours as I walked my Matsya, an Indian dog from Goa,  I 
almost stepped on a piece of a possum’s liver that lied ahead of the rest of 
their body, flipped inside out from the impact of thousands of pounds coupled 
with speed. I was told by a wildlife rehabilitation that it’s important to 
check fresh possum corpses on the side of the road, because if a jill, their 
marsupial pouches might be full of joeys, and so despite my body’s resistance, 
despite the sadness, I go to check and am relieved that I will not have to 
figure out what to do with a litter of orphans. For many this may seem to be a 
position of privilege, to feel concern for creatures, when on these same 
streets, a police state with officers armed to the hilt, is busy at work 
seeking out the rebels and enemies of a settler state, native, brown, and black 
bodies, bodies marked as masculine, feminine, cuir,  illegal, criminal, who 
have been under attack since at least the time when Columbus and Conquistadores 
sailed the ocean blue. Yet, what I believe, what I hope to contribute here, is 
that these stories are not disconnected, they are not discrete, but rather what 
Karen Barad has encouraged us to perceive as entanglements, with 
anti-disciplinary and intradisciplinary knowledges, such as indigenous studies, 
critical race studies, trans*studies, disability studies, multi species 
studies, feminist studies, decolonial studies, offering us tools with which to 
enact foundational paradigm shifts. 

In eco-critical solidarity,
lissette

Lissette Olivares
Co Director & Founder
Sin Kabeza Productions <http://www.sinkabeza.com/>
http://www.sinkabeza.com/architecture <http://www.sinkabeza.com/architecture>
Phone:(917) 213-9820
Email: lioliva...@fulbrightmail.org




> On Oct 3, 2017, at 1:10 AM, margaretha haughwout 
> <margaretha.anne.haughw...@gmail.com> wrote:
> 
> --empyre- soft-skinned space--
> Greetings to all on this list and the many species that surround you,
> 
> I'd love for the conversations with Valentine, Lissette, and Randall to seed 
> and nourish our coming weeks together:
> 
> We must begin by asking -- what are the radical aesthetics of our ecological 
> practice? How do we fuse politics and aesthetics in the more-than-human 
> Capitalocene? How do we understand the work of de-centering the human and art 
> making, and how does the collapse of the nature/culture binary figure for us 
> as multispecies artists, activists, collaborative worlders? Indeed, 
> Lissette's multispecies architecture and decolonial laboratory introduce 
> engagements that undo conceptions of nature as ahistorical or apolitical.  
> 
> And, how do systems figure in our understanding of ecological practice?  
> Randall and Valentine call for a soil practice, a 'terroirism' that 
> transforms social practice from a model of art making wholly tied to 
> neoliberalism to a regenerative art system that can recuperate ecologies and 
> re/generate matrices of relationships between humans and non-humans. They 
> introduce  ecoaesthetic systems.
> 
> Systems and entanglements. Do systems and systems theory inform our radical 
> aesthetics of multispecies worlding and ecological art in the Capitalocene? 
> What happens to our systems and our designs when we tangle with other 
> species? Do our entanglements uphold our systems, our designs, our 
> architectures? which ones?
> 
> Warmly,
> -Margaretha
> 
> ---
> 
> 
> Week 1: Radical Aesthetics, EcoAesthetic Systems and Entanglements
> 
> Valentine Cadieux
> Professor Valentine Cadieux is Director of Environmental Studies and 
> Sustainability at Hamline University. Using art and science approaches to 
> society-environment relations and speci