Abstract: While concepts of remoteness have long conditioned the fabulation of alterity, remoteness is not a quality ascribable to distant places and strange peoples “out there”. No one is by nature “remote”. Building from this proposition, this article argues that a heritage of European aestheticization of the “far” north grew out of European ways of imagining the world and contributed to settler social imaginaries of remoteness. Through historical analysis of travelling accounts, colonial exhibitions, and the settler art theorical work of Francis Sparshott about the “cold and remote art” of “far” northerly Inuit peoples, the concept of an aesthetics of remoteness—modes of appreciation and taste that produce a “darkness” not inherent to the Arctic itself but projected by the settler-colonial milieu, which maintains control through the creation of distance. The study shows how Indigenous Arctic art becomes aestheticized through settler sensoria of faraway and incomprehensible forms of beauty that mask histories of colonial extraction and dispossession. The article further contextualises a close, critical reading of Sparshott into relation with the wider history of trade and colonisation, to consider how colonial markets for art objects interface with both European narration of remote peoples and European markets for art from remote parts of the world. The work ultimately argues for a reorientation that refuses this projection of an aesthetics of remoteness and proposes an ethics of recognition that confronts the colonial histories embedded in art circulation and appreciation within Canada and beyond.







Description: Tracing the convergence of ecology and engineering over the last three decades, this book pinpoints a new environmental paradigm that the author calls Nature Remade. Allison Carruth’s Novel Ecologies shows how the tech industry has taken up the wilderness mythologies that shaped one strain of American environmentalism over the last century. Calling this twenty-first-century environmental imagination Nature Remade, Carruth describes a distinctly West Coast framework that is at once nostalgic and futuristic. Through three case studies (synthetic wildlife, the digital cloud, and space colonization), the book shows Nature Remade to be a quasi-religious belief in venture capitalism and big tech. This paradigm thus imagines a future in which species, ecosystems, and entire planets are re-generated and re-created through engineering. Novel Ecologies challenges the conviction that climate change and other environmental crises must be met with ever larger-scale forms of technological intervention. Against the new worlds conjured by Google, Meta, Open AI, Amazon, SpaceX, and a host of lesser-known start-ups, Carruth marshals writers and artists who imagine provisionally hopeful environmental futures while refusing to forget the histories that have made the world what it is. On this track of the book, Carruth discusses the works of Octavia Butler, Becky Chambers, Jennifer Egan, Ruth Ozeki, Craig Santos Perez, Tracy K. Smith, Jeff VanderMeer, Saya Woolfalk, and many more. Their novels, poems, installation artworks, and expressive media offer a speculative world built on livable communities rather than engineered lifeforms.