Mitt arbete blir från en eko filosofisk synvinkel, och den konsthantverkbaserade scenografin som kommer skapas är baserad på vår/min syn på relation mellan naturen och människan. Många har tankar om just detta, det känns angeläget att kunna skapa en miljö där detta finns som en underton och att skapa en subtil miljö där jag jobbar med det taktila arbete, - evighetsarbeten, baserade på mitt eget formspråk. Jag vill utforska minatankar och undersöka hur jag kan betrakta och visa detta från olika vinklar.Ett ställe där natur och av människan skapade objekt samspelar, men där naturenblir styrd av objektens väggar, blommor kan tränga sig igenom kompakta materialsom asfalt och nerbrytningsprocessen är en oändlig del av detta. Med dessa flaskor vill jag visa hur naturen fångas in i ett bestämt element och lever av det som serveras den.

Deep ecology seeks answers to and treats the earth's ecological crisis by digging down to the root of the problem. In deep ecology, an ecocentric worldview where human life is part of all living things is preferred over the anthropocentric view where humanity places itself at the center of the world. The purpose of this study was to investigate perceived interconnectedness with the rest of nature and how that connection affects possible environmental activism. Engagement can stem from various reasons and the study also examines whether or not it is based on the principles of deep ecology. With the intention to answer the study's research questions, a survey consisting of 18 questions was designed with both closed and open-ended answers, which enabled the use of both quantitative and qualitative analysis methods. The survey was distributed online, and data were collected from 95 individuals, 72% female and 28% male. The results showed that a 93% of the respondents see themselves as environmentally conscious people. A statistically significant majority agreed with the eight principles linked to the deep ecology movement, and it can therefore be assumed that these principles are at least partially accepted by environmentally conscious people. 55% of the respondents replied that the reason for their environmental activism is that they are committed to "nature of which we are all a part", this result is of interest regarding the focus on the ecocentric worldview in this study. The results show that a statistically significant majority agree that a stronger sense of connection with nature makes them want to make more environmentally conscious choices. This particular result encourages continued research of the subject, and a continuation of digging deeper for possible solutions to the ecological crisis. / Djupekologin söker svar till, och behandlar, jordens ekologiska kris genom att gräva ner till roten av problemet. En ekocentrisk världsbild där människan är en del av allt levande föredras framför den antropocentriska bilden där människan sätter sig själv i centrum. Syftet med denna studie är att undersöka människans upplevda samhörighet med resten av naturen och hur den samhörigheten påverkar eventuellt miljöengagemang. Detta engagemang kan komma från olika anledningar och studien ville även undersöka huruvida det grundar sig i djupekologins principer eller ej. För att besvara studiens frågeställningar utformades en enkät bestående av 18 frågor med både slutna och öppna svarsalternativ, vilket möjliggjorde användandet av både kvantitativ och kvalitativ analysmetod. Enkäten distribuerades online och data samlades in från 95 individer, varav 72% kvinnor och 28% män. Resultatet visade att en majoritet av respondenterna, 93%, svarade att de ser sig själva som miljömedvetna människor. En signifikant majoritet instämde med de åtta principerna kopplade till den djupekologiska rörelsen och det kan därför antas att dessa principer är minst delvis godtagna av miljömedvetna människor. 55% av respondenterna svarade även att anledningen till deras miljöengagemang är att de engagerar sig för ”Naturen som vi alla är en del av”, detta resultat är av intresse med tanke på fokuset på denekocentriska världsbilden. Resultatet visar också att en signifikant majoritet svarar instämmande till att en starkare känsla av samhörighet med naturen får dem att vilja göra mer miljömedvetna val. I synnerhet detta resultat gör att studien uppmuntrar till fortsatt utforskning av ämnet, och till att gräva djupare efter lösningar till den ekologiska krisen.

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The object of investigation in this essay is the epic novel sequence Jernbanan written by Sara Lidman. More specifically the investigation takes on the idea of a “sam-vett” as it is formulated in Jernbanan. The “sam-vett” is an idea about the undivided unity of man, nature and animal, and with a kind of primitive trait. By asking the question what traces the history of ideas are to be found in the “sam-vett”, the hope is that it will bring some clarity to the notion and what its message might be. In addition to that a thesis is formulated, that the “sam-vett” can be read as a form of deep ecology. Deep ecology takes on the first rule of ecology, that everything is closely bound together, and extends it to a philosophy. By discussing the notion of the “sam-vett” in the light of two figures in the history of ideas, Jean-Jacques Rousseau and Martin Heidegger, the hope is to unravel its learning. In the end the “sam-vett” can be described as knowledge of nature that is based on a feeling more than the intellect – that begins where the language ends.

The subject-matter of the following essay is to investigate the relationship between what is commonly called Deep Ecology or Biocentric Philosophy, as articulated by the co-founder of the Deep Ecology Movement, Arne Naess, and later proponents of the biocentric school of environmentalist thought. I contrast Naess’ concept of Self-realization as founded in his Ecosophy T to the ideas of american conservationist and co-founder of the radical green movement Earth First! Dave Foreman, and to the controversial finnish environmentalist and ecofascist Pentti Linkola’s ideological agenda of population-reduction respectively. According to some critics of the movement, especially the social ecologist Murray Bookchin and French liberal philosopher Luc Ferry, the Deep Ecology ideology is essentially misanthropic and totalitarian in structure. A central idea among deep ecologists is that ecosystems and natural entities have intrinsic value in themselves, even outside a human social context. This idea is thought of among deep ecologists to create a philosophically sound basis for counteracting the environmental global crisis. Both Bookchin and Ferry argue that this idea reduces the role of human reason and ethics in a fundamental way, especially in relation to questions concerning population-growth control. My aim is to show that the original intention of Arne Naess in his philosophy (Ekosofi T) does not resemble either Ferrys focus of critique, neither the controversial statements made by Dave Foreman and Earth First! nor Linkolas population-control agenda.

In the Anthropocene, a new approach towards nature in poetry is emerging. This change is closely related to ecocritical theory, which is a reevaluation of the human view on, and representation of, nature. It moves away from a more traditional anthropocentric perspective to a more critical one. This can for instance be in the spirit of Arne Naess or Timothy Morton, the two main theorists used in this essay. This essay is an ecocritical close reading of two Swedish contemporary poems on nature: “När jag går i skymningsmörkret” by Ingela Strandberg (from Att snara en fågel, 2018) and “(Strandförskjutningar)” by Gunnar D Hansson (from Tapeshavet, 2017). The focus of the reading is on the representation of wild, untouched nature. The formulated questions in the essay concern how untouched nature is represented in the poems, the human relationship towards it and how the differences and similarities between the two poems relate to and transform romantic representations of nature.  The conclusion is that these two very different poems exemplify the range of contemporary Swedish nature poetry. Strandberg’s poem is leaning towards a romantic or ecosofist representation of nature, whilst Hansson’s is more clear-cut ecocritical in line with Morton’s dark ecology.