We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of (...) animals and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Entranced Earth looks at audiovisual, literary, performative, and testimonial sources to examine the impact of neocolonial extractivist industries on the natural environment in the Western Hemisphere.

ABSTRACT This article attempts to situate land art in the deserts of the US Southwest in terms of the works’ relation to and rupture with more traditional genres (seventeenth to twentieth centuries) of parks, gardens, and landscape architecture. It argues that the earlier works provide implicit answers to questions concerning Earth’s meaning and offer models of flourishing habitation. In contrast, the more recent works, all constructed in the era of the great acceleration (the Anthropocene), pose questions having to do (...) with new challenges posed by climate change and the devastation of the Earth. (shrink)

This presentation is something of a performative response to the thrust and promise of Dennis Schmidt’s work in Between Word and Image, especially his reference to art as an ethopoetic event. My own art practice has led me to ask when art happens, about the event of art. Rilke was right: “you must change your life.” This means a break with the dominance of representation, calculation and Machenschaft. The idea that this means a renewal of dwelling, and that art can (...) help, is for Denny the ethical promise of art. We here take up questions he sets aside—that of Nature and that of the possibility/efficacy of art today (Hegel/Adorno). I claim that earth art has distinctive ways of recalibrating our understanding of and engagement with space and time, which feed into what we mean by dwelling, our bearing in the world. This transforms how we think of questions of control with respect to Nature. (shrink)

"In The Ethics of Earth Art, Amanda Boetzkes analyzes the development of the earth art movement, arguing that such diverse artists as Robert Smithson, Ana Mendieta, James Turrell, Jackie Brookner, Olafur Eliasson, Basia Irland, and Ichi ...

This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Übermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist (...) contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past. (shrink)

Arts-Based Thought Experiments is a highly visual offering that engages visual arts, photography, poetry, creative non-fiction, memoir and speculative fiction. In this novel book, the authors lean deeply into concepts of the imaginary, and through artful experiments with thought, trouble the tensions between the human, the posthuman and the more than human. In the Anthropocene, with its intractable challenges and cataclysms, engaging posthuman positions when thinking of learning in socioecological terms is paramount to human survival. In this sense, the arts (...) offer creative and critical thought for the possibilities of a post-Anthropocene earth. Contributors are: Raoul Adam, Marilyn Ahearn, William Boyd, Euan Boyd, Adrienne Brown, Shae L. Brown, Teresa Carapeto, Philemon Chigeza, Amy Cutter-Mackenzie-Knowles, David Ellis, Katie Hotko, Marianne Logan, Ferdousi Khatun, Alexandra Lasczik, Yaw Ofosu-Asare, Maia Osborn, Marie-Laurence Paquette, Jemma Peisker, Ziah Peisker, Adrienne Piscopo, David Rousell, Benjamin Ryan, Billy Ryan, Lisa Siegal, Helen Widdop Quinton, Thilinika Wijesinghe and Tracy Young. (shrink)

Describes what the author sees as a suppression of the feminine in Western culture, technology, and philosophy and opens a feminist postmodern space from which fresh differences may emerge. This title explores underdeveloped themes in American and Canadian feminism. It offers a deconstruction of the phallocentric dichotomies of nature and culture.

Downs, Stephen Review(s) of: Earthly visions: Theology and the challenges of art, by T.J. Gorringe, (New Haven and London: Yale University Press, 2011), pp. 254, $55.00.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Compositions representing the Heavenly Liturgy - the liturgy that is presided over by Christ in heaven, of which the earthly liturgy is a reflection - first appear around the beginning of the fourteenth century in the decoration of Byzantine domes. Most scholars argue that such scenes depict an ancient concept, almost as old as liturgical exegesis itself. I contend that this view is based on a flawed reading of liturgical commentaries, of the biblical texts from which the commentaries draw inspiration, (...) and of the Divine Liturgy itself. I argue that the scene of the Heavenly Liturgy represents both an exegetical stream independent of texts and an understanding of the eucharistic liturgy during the fourteenth and fifteenth centuries that existed in visual form in tandem with traditional textual interpretations of the rite. The scene, devised by painters and their patrons, therefore constitutes a concurrent exegetical tradition that both derived from the commentaries and deviated from them. (shrink)

Narcissus has no need of art because his own reflection preoccupies him.

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection.

The aim of this paper is to point out significant and meaningful overlapping between several styles of scientific thinking, as they were proposed by Crombie (1981) and discussed by Hacking (1985; 2009). This paper is divided in four sections. First, I examine an interpretation made by Barnes (2004) about the incompatibility among scientific styles. As explained by its author, this interpretation denies any possibility of similarities between styles of scientific reasoning. In opposition, the following sections of this paper include explanations (...) of relevant characteristics of Geometry, as stated in Euclid's Elements, which are also present in other three scientific styles: modeling, experimental exploration and taxonomic style (and some of the shared characteristics are even used to define such styles). By stressing out these characteristics I argue that these four styles discussed by Hacking are not so different from each other, in fact, they overlap and may even be abridged into one foundational style: geometric. El objetivo de este artículo consiste en explicar traslapes importantes y significativos entre varios estilos de pensamiento científico, tal como fueron propuestos por Crombie (1981) y discutidos por Hacking (1985; 2009). El presente artículo está dividido en cuatro secciones. Primero, se examina la interpretación de Barnes (2004) sobre la incompatibilidad entre diversos estilos. Según este autor, no existe posibilidad alguna de encontrar similitudes en los estilos de razonamiento científico. En oposición a esta interpretación, las siguientes secciones explican características relevantes de la Geometría, tal como fueron plasmadas en Los Elementos de Euclides, y que están presentes en otros tres estilos: de modelación, de experimentación y taxonómico (las características compartidas incluso definen algunos de estos estilos). Destacar estas características me permite argumentar que estos cuatro estilos discutidos por Hacking no son tan diferentes entre sí, de hecho, se traslapan e incluso pueden ser condensados en un estilo fundacional: el geométrico. (shrink)

In this article, we comment upon and provide an arts-informed example of an emotive-focused reflection of a health care practitioner. Specifically, we use poetry and photographic imagery as tools to un-earth practitioners’ emotions within agonizing and traumatic clinical encounters. In order to recognize one’s own humanness and authentically engage in the art of medicine, we immerse ourselves in the first author’s poetic and photographic self-reflection. The poem and image are intended to inspire interpretation and meaning based on the reader’s (...) own professional and/or personal context. The last line of the poem is “I take off the gloves. My hands are marked.”. (shrink)

One of the most prominent notions in Heidegger’s thinking about art is that of the earth. This paper probes the phenomenological potential of Heidegger’s concept by turning to the work of contemporary British artist Andy Goldsworthy. Drawing from Heidegger’s theoretical writings as well as his analysis of a poem by C.F. Meyer in “The Origin of the Work of Art” and his 1936–37 seminar on Schiller, I show that Goldsworthy’s sculptural art exemplifies different phenomenal traits of the “earth.” (...) To supplement Heidegger’s discussion, both Husserl’s claim that the earth defines the “spatiality of nature” and the role of the earth in Hegel’s philosophy of nature are taken into account. (shrink)

The patterns of ecological devastation that mark the present unexpectedly enable an ancient and many-storied question to resurface with renewed force: the question of the arts of living — that is, of learning how to live and die well with others on a precarious Earth. Modernity has all but forgotten this question, which has long been buried under the dreams of progress and infinite growth, colonial projects, and the enthroning of technoscience. But what might it mean to reclaim the (...) question of the arts of living today? In this article Martin Savransky reclaims the connection between pragmatism, education, and the arts of living by proposing both that (1) William James's pragmatist philosophy can be read as an ongoing and unfinished experiment in weaving a certain art of living, and (2) James's pragmatism might provide us with uniquely generative elements to begin to experiment with the profoundly educational and ecological challenge of learning to inhabit the Earth otherwise. (shrink)

Essays on Art, Culture, and Values, Including Extracts from Song of Soldier and White Teeth Make People Laugh on Earth Okot p'Bitek. promulgates his edicts, rules, decrees and laws is discussed. Then there is a new definition of Culture ...

The study deals with ekphraseis on works of art and poses the question as to how far these texts can be a reliable source for the study or even the reconstruction of the artefacts they describe. Based on reception theory and readerresponse criticism, in the paper is proposed that as every text, byzantine ekphraseis on artworks presuppose an audience or readership, i. e. the one the author had in mind and on the basis of which he encoded his message. In (...) order to decode this message and by extension to extract any information about the described works of art we must aim to discover their “intended reader”, and identify his or her “horizon of expectations. This proposal is tested in the study of a well known piece of this kind, Manasses’s description of a mosaic floor with a depiction of Earth. The author’s dialogue with the earlier tradition of ekphraseis, his readership’s “horizon of expectations” combined with historical facts, allow us to suppose that Manasses is describing a composition with Xenia scenes and an asarotos motif created in the early byzantine period and preserved in the Great Palace of Constantinople up to the twelfth century. (shrink)

During the late eighteenth and early nineteenth centuries antiquarians, geologists and savants debated whether the summits of particular Highland mountains were the vestiges of iron-age forts or evidence of extinct volcanoes. A blend of antiquarian-historical methodology deeply affected the geological narratives that British savants and gentlemen of science developed during this period. The histories of architecture, and the fine and practical arts regularly functioned as proxies for visualizing the history, structure and operations of the earth. The case of vitrified (...) forts discovered in Scotland highlights how the theoretical and practical arts directly informed geological theory to create what George Bellas Greenough claimed was a ‘philosophical pursuit’. Focusing on the contributions of John MacCulloch over the ambiguous identification of vitrified ruins, this paper shows how geological history was entwined with broad cultural interests in the progress of society and its rise from Nature. First, the essay examines the meaning and role of ‘imitation’ and ‘copying’ in art and architecture. Second, it applies these concepts within the framework of the vitrified-ruin debate that antiquarians and geologists engaged. Third, it demonstrates how the ‘imitation’ of Nature in the practical arts was a useful tool for making claims about earth structure. (shrink)

Climate change education (CCE) and environmental education (EE) seek ways for us humans to keep inhabiting Earth. We present a thought experiment adopting the perspective of Earth-settlers, aiming to illuminate the planetary mass of technology. By elaborating Hannah Arendt’s notion of ‘earth alienation’ and Bruno Latour’s notion of technology as ‘missing mass’, we suggest that, in the current Anthropocene era, our relation to technology should be a crucial theme of CCE and EE. We further suspect that sustainable (...) development (SD) and the education promoting it (ESD) are problematic, because the green growth proposed is inextricably linked to the unattainable goal of decoupling growth from environmental impact. We therefore suggest education for post-sustainability (EPS) that critically re-evaluates the connections between technology and sustainability. But can educators critically question technology, since educational institutions seem to be unconditionally committed to promoting technological progress? While tracing this professional dilemma, we call for educational responsibility and autonomy to question technology when it is at odds with sustainability. To this end, we outline technological literacy that introduces the arts of (a) seeing technology, (b) living with technology, and (c) delegating or sustainably assimilating technology. (shrink)

This article aims at contributing to the contemporary reception of Heidegger’s thought in eco-philosophical perspective. Its point of departure is Heidegger’s claim, in his Bremen lectures and The Question Concerning Technology, that today the earth is submitted to permanent requisition and planned ordering, and that, having thus lost sight of its auto-poiesis, we are no longer capable of listening, tuning in, and singing back to what he calls in his course on Heraclitus the “song of the earth.” Accordingly, (...) first we examine how the inherently reciprocal dynamics of “earth” and “world,” as thematised by Heidegger in The Origin of the Work of Art, have become opaque. Second, we analyse whether it is possible to find those same dynamics at play behind Heidegger’s “Fourfold,” which we propose to reread in binary key in dialogue with contemporary anthropology, from Bateson and Lévi-Strauss to Wagner and Viveiros de Castro, and in light of Guattari’s notion of “trans-entitarian generativity.” Third, we stress the need to reposition Heidegger’s thought alongside contemporary concerns on “worlding” and we explore its plausible intersections with today’s object-oriented ethnography. Lastly, we discuss the possibility of rereading Heidegger’s Fourfold afresh against the backdrop of Heidegger’s non-foundational thinking, as a conceptual metaphor for the joint dynamics of Abgrund and Grund. (shrink)

Le Souffle de la Terre/The Pulse of the Earth is an on-going sound work (1996–20–) by the artist L. Abenavoli. She outlines the sonification methods employed in the making of the work in an analysis of its technical and conceptual features. The work is described in terms of her artistic objectives.

In lieu of an abstract, here is a brief excerpt of the content:Earth-O-Meter: Color Studies OchreElpitha Tsoutsounakis (bio)Ochre is always in a state of becoming—becoming color, becoming blood. Ancient, stellar death becoming current, terrestrial life; geological making. Design becomes epistemic tool beyond aesthetic representation.I join a body of academic and community scholars around the globe who think with Ochre from a variety of disciplines. How have we evolved through and with Ochre? What future does Ochre bring as art or (...) technology? How can Ochre remediate legacies of extraction? How can we return to the material from our current abstraction and commodification of color? How can we relate to terrestrial beings beyond anonymous resource? How can Ochre reveal plural realities of time and place through erased or forgotten narratives?This exploration has become the Field Studio Geontological Survey (FSGS), a design research collective assembling and extending Ochre dimensions to expand human/nonhuman inter-subjectivity. The collective is inspired by the United States Geological Survey (USGS), which has surveyed, mapped, and catalogued the U.S.—and the world—extensively and completely, translating earth matter into anonymous “natural” resources. Through its manipulation of geopower, USGS mediates our human relation to the more-than-human. The Geontological Survey diverts USGS tactics—survey, map, catalog, archive—towards a future feminist Ochre imaginary though collective practice in field, community, and studio operations. Ochre bodies, pigments, swatches, and the maps and artifacts produced with/by them, are archived at UnknownProspect.org.Earth-O-Meter 231101 (see Fig. 1) is assembled with thirty-six Ochres from FSGS Folio 2301,1 all surveyed in field operations at Temple Mountain Mining District in the San Rafael Swell, Utah. The swell is a geological anomaly at the edge of the Colorado Plateau, an anticline pushed up 60 million years ago during the Laramide Orogeny. It measures roughly 64 [End Page 109] Click for larger view View full resolutionFigure 1.Earth-O-Meter 231101: Ochre bodies from Folio 2301 and their respective swatches made with pigment in gum arabic and water. Full-scale color image and more on Ochres from Folio 2301 can be seen at unknownprospect.org.km wide and 121 km long. Erosion has revealed millions of years of geological time exposed to the desert sun along the reef edge where so-called Temple Mountain emerges from the southeast flank. An ancient marine environment left us the Chinle Formation in the Triassic Period—a formation marked by colorful instances of oxidation or reduction based on [End Page 110] fluctuating sea levels and water conditions. The meter begins and ends with Ochre that appears “green” (28.006) alongside Ochre that appears “violet” (18.003). They arrive next to one another just as they are found in the landscape: green nestled in violet, reminding us of lapping waters so long ago.Folio 2301 and the Earth-O-Meter are lines of flight for a material color theory, one in which color is not an abstract, perceived characteristic observed by physics, or a trick debating its place in or out of the mind. Color, or chroma, are material signs in the universe. Folio 2301 archives Ochre bodies from Temple Mountain alongside their respective pigments and the registry of community members who prepared them. The pigments were swatched to produce eight plates containing color studies or “palettes of place.” In Ochre, heat moves iron from yellow to red, water differentiates green from violet. Fluctuations of heat, time, pressure, electromagnetic field, and energy all play a part in the matter of color.While it is inspired by the cyanometer, a tool made to measure the blueness of the sky,2 the Earth-O-Meter is not a tool for measuring color, or earth-ness. It is a portal and a sign where the energy and intelligence of iron is flowing and evolving—all around us, before us, and after us. The cyanometer is made using Prussian blue, which is an oxidation of ferrous ferrocyanide salts. Prussian blue is known as the “first synthetic pigment.” By tinting Prussian blue to create the spectrum of the sky, technics modify iron to produce a divergent color in order to measure an ephemeral effect of atmosphere. The sky’s blueness is our experience of... (shrink)

While there are many stories of man, one moment seems to recur in all of them. This is the belief that we need to be able, and want, to look in the mirror of something that is qualitatively larger than us. This is the intention of the tradition whose philosophic patron is Plato. This need for unreality—the need for another world—presumably manifests itself in every area of human activity. One can therefore talk about a specific need for unreality that every (...) real life satiates itself with. I provide examples of this need: science, religion, love, past and future. In the light of eternal life, we would be continually beset by the values for which we would be obliged to sacrifice our lives. In the light of earthly life, such values are inconceivably less frequent. We learn the difficult art of living in a consumer world where we do not have to die. (shrink)

Christian Waldvogel's work in conceptual and visual art is about the Earth within the solar system and mankind within its world and new imaginations. Waldvogel uses mainly photography, various means of digital image-generation and processing and moving i.

A look into one artist’s philosophical perspective regarding the successes and challenges of creating public art installations. The essay explores the development of a series of large-scale temporary works through the artist’s intuitive, conceptual, and spiritual response to particular locations, which have ranged from Baltimore to New York to Seoul, Korea. The article comes to focus upon a particularly controversial installation constructed in Quiet Waters Park in Annapolis, Maryland. It explores the relationship between plastic debris and driftwood collected from the (...) faltering ecosystem of Chesapeake Bay beaches and what the public perceives as a natural environment of that park.The installation was created on top of the ruined foundation of an early twentieth-century hunting lodge located in a stand of old trees, which contained additional artifacts of the site’s original farm. The artist’s intent was to create an explicit walk-through environment with an implicit meaning in order to allow the public to contemplate and interpret the associations and meanings. What resulted was a well-publicized controversial split over spiritual questions, which exposed a divisive fault line between wealthy conservatives and the general public. (shrink)

This is an exceptional volume which expands upon the World Phenomenology Institute's recent research: the study of the beautiful intertwining of the skies and the cosmos with the human pursuits of philosophy, literature and the arts. The relationship of humans to the cosmos is examined through the exploration of phenomenology, metaphysics and the arts. The authors of this volume write on a variety of topics which all seek to open the reader's eyes to the relationship of humans and our perception (...) of our place in the cosmos. This volume offers a framework in which to present a rich panorama; a variety of perspectives illustrating how the perception of the interplay between human beings and the celestial realm advances in common experience and worldviews. This attempt to uncover our cosmic position is a great and worthwhile intellectual challenge. Philosophy as well as literature and the arts are nourished by this human quest for knowledge and understanding. (shrink)

Following the traces of Margaret Mead’s statement that emphasized that the first photographic images of the Earth from space presented notions of fragility, the article contextualizes the recent critique of the dominant representation of the Earth as a globe that emerged in conjunction with the discourse on the Anthropocene. It analyses the globe as an image and the sentiments that accompanied it since the first photographs of our planet from space were published in 1968. The article outlines how (...) the cultural meaning of the whole Earth representation changed in parallel with the appropriation of the image by the large technological enterprises that emerged from America’s counterculture. It returns to the possibility of a coexistence of ‘views from within’ and ‘views from without’ following a detour with Gregory Bateson via Bali and proposes a Cybernetics of Grace as a practice of resistance against pure exteriority. The article concludes by linking the Cybernetics of Grace with the second-order conversations of Gordon Pask. (shrink)

Contemporary pragmatic naturalism -- Reconciling pragmatism and naturalism -- Value of pragmatic naturalism -- Being and knowing -- Ontology of constitutive relations -- Particulars and relations -- Making sense of world making -- God and faith -- Art and knowledge -- Social experience -- Democratic challenge -- Democracy and its problems -- International relations and foreign policy -- Cosmopolitanism and humanism -- Pragmatic, naturalism, and the big narrative.

The Invention of a People explores the residual relation between Heidegger's thought and Deleuze's novelty, focusing on the parallels between their emphasis on the connection of earth, art and a people-to-come.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Politics and the Earthly City in Augustine's City of God by Veronica Roberts OgleAaron C. EbertPolitics and the Earthly City in Augustine's City of God by Veronica Roberts Ogle (Cambridge: Cambridge University Press, 2021), x + 201 pp.Politics is not a word in Augustine's lexicon—at least, it's not something he speaks of, in the abstract, in his great work of political theology, the City of God. This curious (...) omission from Augustine's late magnum opus et arduum has given rise to many a divergent reading of his political thought. Lacking an express account of the very term in question, his politics can seem to admit of a wide range of interpretations. On one side of the spectrum, it has been described as anticipating the religious neutrality of modern liberalism. On the other side, it has been interpreted as consolidating politics into religion by transposing political philosophy into the key of ecclesiology and making the Church the new realm of politics.1 In her elegantly written and insightful new book, which builds on the work of her 2014 dissertation at the University of Notre Dame and on a few published articles, Veronica Roberts Ogle charts a new interpretive path for reading Augustine on politics. She does this by means of two principal interventions.The first is by elucidating City of God's rhetorical purpose, what Ogle calls its "psychagogic character" (6). Psychagogy, "the art of leading [agô] souls [psychai] to a state of health," was the rhetorical aim and genre of much ancient philosophy (3). It took its cue from the philosopher's perception that his readers were sick with the disease of unhealthy attachment to the things of the world. Philosophers were physicians of the soul: they applied "the medicinal art of contraries" to their sick patients. This meant that their literary curatives often met patients/readers with the bitter taste of a poison (4). But—and this is the crucial point for Ogle—the poison was given for the purpose of health. What this means for Augustine's City of God, Ogle argues, is that we ought not take the work's biting and at-times-venomous rhetoric as evidence that Augustine is trying to poison his reader's vision of politics. Rather, he is trying to cure them of their attachment to the myths and delusions of politics-according-to-Rome and, instead, "to help us see the world, even the political world, anew: as part of a created order that is good, but that points beyond itself all the same" (4). Augustine's descriptions of Rome—indeed his frequent equations of Rome with the civitas [End Page 1426] terrena—are indeed meant to shock. But, so Ogle argues, they are meant to shock us out of destructive attachments so that we can learn to make the right attachments, first to Christ, and then, through Christ, to our earthly communities as pilgrims. City of God's pessimistic rhetoric is not Augustine simply denouncing the natural project of politics. It is a bitter medicine for a people deathly ill with an addiction to earthly glory.The second intervention of Ogle's book lies in its attention to what she calls City of God's "sacramental ethos" (5). This, I would argue, is the book's most important contribution. It is also the insight on which the heart of the book's argument depends. Sacraments, for Augustine, are signs that point us to God. Understood in this broad sense, the whole created order—that is, everything that is not God—has the quality of a sacrament by virtue of its very existence. This is connected closely to Augustine's understanding of evil as privatio boni: all that exists, to the extent that it exists, is good; and all that exists is, by nature, a sign (signum) pointing beyond itself to the Lord.These are not new insights into Augustine's doctrine of creation, but Ogle's application of them to the question of politics and the earthly city is suggestive. For what emerges is a new account of the relationship between politics and the earthly city. The whole created order... (shrink)