Contribution short abstract:

posthumanism; human-environment relations; anthropogenic climate change/Anthropocene; Kashubia; Stimmung (attunement); eco-affects and emotions; anthropology of art

Contribution long abstract:

T. Morton's concept of ‘being ecological’: according to Morton, humans are already ecological; it is therefore less a question of learning to be ecological than of rediscovering it. Furthermore, Morton assumes that all art is ecological because it implies solidarity with non-humans. To what extent does this also apply to crafts?

What role does (critical) posthumanism play in the rediscovery of the ecological condition of human beings? My posthumanist studies on Kashubia transcend previous academic knowledge production on this region in that they do not ask what is Kashubian, but attempt to ethnographically describe concrete spatial-material assemblages and the human and non-human entities embedded in them in their potentiality and openness, in their multiple appearances and essences beyond stereotyping, essentialising, anthropocentric and dualistic attributions in the light of the Anthropocene. I have tried to think the abstract anthropocene processes in terms of concrete landscape assemblages, objects and materials, in terms of the concrete narratives of those human and non-human actors, in order to allow an empathy with, engagement with and attunement to concrete transformations audible in everyday life.

What role can a Stimmung-centred perspective play in the ethnographic approach to indigenous knowledge?

We could talk about the dwelling perspective, the inhabiting and caring constitution of the human being (Heidegger): How does it correlate with the nomadic constitution of the subject (Braidotti; Deleuze/Guattari)?

Why should we abandon the Anthropocene concept in favour of the Humilocene? Both terms are equally post-anthropocentric insofar as they describe the defeat and crisis situation of humans.