Insight and inspiration in turbulent times.
While Elsie’s annoying qualities as a narrator dampen her effectiveness as an environmental agitator, the points she makes are spot on. She eloquently admonishes her human readers, "You can’t just wear the food chain around your neck like a bauble or necklace. You’re part of it and if you keep treating it with disdain, that chain will strangle you."
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I suppose you could call the era of dissolution the Rodney Dangerfield of collapse, though it’s not so much that it gets no respect; it generally doesn’t even get discussed.
There are three key elements to the dominant ideology of the contemporary United States—involving world affairs, economics, and ecology—which can be best understood as forms of fundamentalism.
What keeps me going is the desire to put this accumulation of experience, however rude and mis-shapen it might be in parts, to good use, so that one less field becomes pavement, so that one less stream dries up, that one less meaningful cultural practice fades away in an urban slum, and so that one less barrel of oil is burned just because a way of life deems that burning as inevitable.
What is needed to get us out of our comfort zone and fight for our children’s future?
The diversity of opinion at this year’s OuiShare festival could pave the way for a broader debate on the political drivers of social and environmental crises, as well as the role that sharing and collaboration can play in addressing them.
Divestment is the opposite of investment: you can think of it like “uninvesting.”
Anarchist anthropologist David Graeber argues in his recent book, The Utopia of Rules, that bureaucracy is the standard mechanism in contemporary life for coercing people to comply with the top-down priorities of institutions, especially corporations and government.
The fourth of the stages in the sequence of collapse we’ve been discussing is the era of breakdown.
Young people use public spaces just as much as anyone else, if not more.
Chris and Becca Martenson talk cultural stories with Charles Eisenstein.
