Greenwash #23 in Trouble - Goodly Spores
Wednesday, June 1, 2011
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My name is Patrick Jones. I live and labour on Djaara peoples' country. Dja Dja Wurrung is the first language of this land. I acknowledge the six Djaara seasons and pay homage to the regenerative economies upon which Djaara living culture sits. The spirit and logic of which my household draws upon in our everyday productions and lifeways while simultaneously drawing upon our own indigenous peoples through story and the ancestral plants, animals, microbes, mushrooms and uncapitalised medicines that have also emplaced on this country. We recognise the system of racism that terra nullius continues to instil in the dominant culture, and recognise that as people of many diverse white cultures we still hold cultural blinders that our historical trauma sits within and (now) our privilege stands upon.
Here are some of my books. The bottom two can be purchased from me direct, however if you're moving to a non-monetary economy I'll post you one in exchange for a gift of your making. Please feel free to suggest an exchange by emailing me (click above 'Contact me' tab).

To read, click on image and then click again for better resolution.
The human plates themselves are the seats of reciprocal and crossed interrelations among individuals and subgroups, their tools, their world-objects, and their knowledge, assemblages that little by little are losing their relations with place, locality, neighbourhood, proximity. Being-there is getting rarer. (Serres, 1995 p.20)

I concentrated this month's Greenwash article on one specific chapter found in the very brilliant Post Carbon Reader anthology. The chapter is called Growing Community Food Systems and is written by US artist-farmer Erika Allen. Click on the image below, then click again to read in high definition.
Turning the compost is an obvious enough metaphor; artists do it all the time, cycling materials and concepts – peddling forward, foraging back. So I thought after a year and a half of generated content within this column it was time to do some chronological composting and see what sort of conceptual soil has been built as we move deeper into an era of ecological crises. Read on by clicking on image.
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As expected, the same corporate interests that have created the two crises [climate chaos and peak oil] tried to offer the disease as the cure – more fossil fuel-based chemical fertilizers, more non-renewable genetically engineered seeds bred to respond to the intensive use of chemicals, more corporate control of food, and more globalized trade. Vandana Shiva, Soil Not Oil, 2008
We are at a point in time in Australia where environmental consultants are having to recommend to government which rivers will need to die in order for others to survive. Such is the legacy of our occupation. Man-made ecocide follows the banners of "progress" and "growth". But the reports will get buried; another ecological violation will go unaccounted; another government policy, greenwashed as "sustainability", will seduce and delude a largely urban constituency.

The often-invoked term 'sustainability' tends to obscure the seriousness of the situation; clearly no culture which sets in motion massive processes of biospheric degradation which it has normalised, and which it cannot respond to or correct, can hope to survive for very long. Val Plumwood, 2002
Have you ever wondered why public parks (with few exceptions) are not filled with fruit and nut trees, vegetables and herbs? Or why schools don’t teach children about local ecology and Indigenous food plants? Well that would be sending the wrong message: That people could forage at their leisure for their own resources.
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Glen Dunn recently made a short film about a kiln firing in Southern Tasmania, posted it online and found an unexpected viral enthusiasm for it around the globe. The film’s fusing of the ancient and the modern, the physical and the digital, taps into some of our most basic inclinations to form meaning of the present with things and activities that are common to the past. Things such as clay and wood and fire.
Waste. No other single word defines our civilisation better. Ninety years of crude oil extraction, refinement and burning has turned the planet and its atmosphere into a monumental toxicological dump. But the rapid exploitation of oil deposits is only one corollary of our anti-ecological state, our mindset for waste has been gradually developing over 6,000 years.
A few years ago I met and shared a meal with John Peterson, a US artist-farmer who worked out a unique way to put the mardi gras back into microbial life. Peterson has spent a lifetime building interrelationships between the earth, art and food. He transformed his family’s farm from using conventional ecocidal farming practices into a world of creativity and experimentation where wild nature was encouraged to coexist with cultivated nature.
As this is the first in a series of columns on art and the environment, I thought I’d begin with my own definition of the much bandied about word ‘sustainability’, and talk about how my thoughts and understanding of ecology have radically changed my own art practice over the years.
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