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What does it mean to have access to or to live on land? Why might it matter if 'God' was the owner? Morningstar Ranch was an experiment in social caring that was an embodiment of feminist non-tangible and healing labor. I contrast perceptions of the idea of being political as masculine and suggest the "drop out" hippie cultures of back-to-the-landers in Northern California were unjustly seen as apolitical from a point of view that obscures the labor of care. Mostly though, this addresses the idea of giving land to god. On Oct. 10, 1968, Lou Gottlieb, owner of some 31 acres north of San Francisco came before his local Board of Supervisors to offer his property to the people of Sonoma County "as an experiment in living." To learn more about Gottlieb's initiative, I contacted people who were part of this experiment in social caring that was an embodiment of feminist non-tangible and healing labor. I contrast perceptions of the political as masculine and suggest that "drop out" hippie cultures of back-to-the-landers in Northern California were unjustly seen as apolitical from a point of view that obscures the labor of healing and caring. Mostly though, this addresses the strategy of giving land to god.

Morningstar Ranch was an experimental commune in Sonoma County California where people went to learn about being on the land. Soon, the owner decides to try to give the land back go God. About dropping out, opening land to anyone and about being disciplined by history.

Earth monitoring initiated by late 60s space programs proliferates as visualization technologies for multiple purposes; weather tracking, military, communications, etc.  Authors like Virilio have discussed how these technologies  produce new architectures of war and subjects of surveillance. The image of an Earth floating in space also produces self-consciousness regarding our place in a universe, and on the planet. This paper surveys these regimes of visuality- inquiring as to how they inscribe a sense of mortality- both of the planet and of the individual in a new way, inquiring after their meaning for those of us to live on this planet.
James Lovelock chose Gaia as the name for an earth-as-organism after the ancient Greek Earth goddess.  Gaia as a cultural attitude moves toward the “re-enchantment of nature,” and is embraced by many people as a techno-ethical guide.  I conclude with a discussion of bacterial imagination, through contemporary land/earth and biological artwork.

Non-consensual eco-sex I am looking to publish this one! It is strange and creepy and.. it is done! Any ideas for where to send it are very welcomed! Non-consensual eco-sex A guided meditation on the semi-permeable membrane Lyme disease is caused by a bacterial spirochete that lives in the guts of ticks, which, unaffected themselves, spread it around. When the tick hops on a warm blooded animal to get the blood meal it needs to reproduce, the Borreliia burgdorferii spirochete enters through the bloodstream and moves on to the mucus membranes.

How do the places in between that clue us to ways of ecological rescaling and in turn, a new ecological imagining and way of doing art. Permacultural practice is the starting place for thinking about what is in-between- encounter sites where translation and adaptation between species encourages diversity and resiliency. Our own human edges give clues too; We participate in multiple encounters and translations with the edges of other bodies within context-suffused mediums called “environments.” We think through the human body, the seed bomb and the glacier enroute to looking for a responsible eco-aesthetics of sideways looking and feeling.

The DSB Fragtmandshallerne in outer Norrebrø is a 1000 square meter dinosaur of a
building surrounded by a weedy field and bounded by the DSB commuter line, commercial
shopping and high-density public housing. It is in a neighborhood composed of immigrants,
ethnic minorities, families, youngsters, students, and lower income resident. Why can't residents use national Agenda 21 goals to create infrastructures they need for their own subsistence in their own neighborhoods by using abandoned structures?

Margaretha Geetruida Zelle, aka Mata Hari, was born to a petit-bourgeoisie family in Leewarden, Holland, in 1876. As the 18 year-old mail-order bride of a Dutch naval officer, Zelle lived for years as an officer’s wife in Dutch colonized Indonesia, where she encountered the local art and ritual dance. Returning to the Netherlands, she was divorced from her abusive husband and emerged some years later in Paris as an exotic dancer whose mysterious “Eastern” identity titillated and fed popular Orientalist fantasies. Her alleged career as a spy followed on the heels of her success as a dancer and demi-monde. She was partial to military men, and her beauty and prestige led to a series of both long and short term affairs with high ranking men who were active in military and diplomatic services in Germany, France and Belgium. Mata Hari is the starting point for a series of propositions concerning modernity, power, and polymorphic seductions.

D o. Pretend to. Sit with me in a basement office and listen to the small universe we occupied for 7 years as a university worker. The office opens onto a hallway. A plaque on the door names the worker who is remunerated for her time in this office. She, or me, this working subject on university payroll, is joined by myriad bacterial and fungal beings that co-constitute her by virtue of inhabitation, thus the pronoun, "we. " They/we also work, feel, and react, doing their/our own thing and multiplying aural reception to the room, pushing beyond a singular. Together we hear the pressure of air as it moves through a metal duct. More distantly, behind a thin wall, a motor is working hard. It turns a circlet of blades that click-whirr, accelerating airflow through metal ducts. It sounds innocuous, even soothing, like noise generators that parents use to put their babies to sleep, or that therapists place outside the clinical door. The pipes are strapped into the space above a vertically suspended grid of compressed paper panels that occasionally jiggle. The blowing hovers just in the background of consciousness as we sit typing at the desk, a shadow in the corner, and certainly this was the intended design. Eventually, however, the sound of forced air emerges from the background fierce and fidgety, until the office becomes crowded with the clamor of numerous relations, many parts working together, well or badly. Metal ducts, corrosion, rust, seams, dust bunnies, dust, galvanized coating, strapping, fan blades, fungal colonies, gratings, barricading filters, motors, and coils shout out their existence, "listen to me!" "I am here too!" The air itself shunts in irregular rhythms as it collides with the duct's concave interior surface. Operational flaws float in and out of recognition of our narrow human perceptual range. Terrible sounds emerge, inharmonious ones, such as the "diabolic" chord produced by an augmented fourth-a dissonant note in the middle of an otherwise harmonious chord, the stinkbug in the raspberry.

The Land was an independent magazine published in the United States from 1940 to 1955. Launched to address the catastrophic loss of topsoil and nutrients during the ten-year drought in the central US that led to the Dust Bowl, the journal brought together a plethora of technological, philosophical and creative resources. With an overall goal of building an understanding of ecological processes as relevant to the health of human communities, The Land critiqued perceptions in the US that land and water were infinite resources to be consumed without consequence. The journal demonstrated the debilitating impact of extractive agriculture on land and water, and declared the defense of these natural resources as crucial to national security. To halt destruction of land and habitat, The Land advocated for farming that built and conserved soil and water, offering techniques and observations from field research on a quarterly basis. A lively debate on farming techniques fed a young movement for what advocates called a "permanent" agriculture, or what we now call sustainable agriculture, framed by an ethic of cooperation with natural processes. The founders included scientists, engineers, and farmers, as well as artists, writers, and female farmers. 1 Contributions included arguments against wasteful farming and industrial practices that wasted land (strip-mining), remediation experiments and reports from travels. Debates took place in its pages regarding policy, scale, subsidies and technique. Researchers and farmers offered theories and observations about soil, minerals, water retention, nutrition and plants, as well as memoirs, poetry, short stories, maps, songs and creative projects that rounded out 1 Citing Jane Adams' insights on rural gender divisions, I consider these women were likely both housewives and farmers in terms of their daily labor.