Field research

Ana Daldon

Through her collaboration with the DokNE sustainability PhD program, Ana Daldon thought about dichotomies in terms of moral categories: Can the moral division between good and bad be replaced through sustainable and unsustainable? And the metaphoric tenor of black and white through green and 'not green' ? Is being 'green' today's being 'good'?

She referred to the frescoes “The Allegory of Good and Bad Government” of the Italian painter Ambrogio Lorenzetti from the 14th century. Those frescoes in the Palazzo Pubblico of Siena contain a large assembly of allegorical figures of virtues and could have served moral education purposes.
Daldon created a connection to today's consumer world. She found “a traditional game, reinterpreted with design and respect for nature” (original text from the vendor's webpage) offered as “green tris”. This game can be easily played with a piece of paper or any object but it is charged with additional values through its design. It is sold as the “The Tris for nature lovers”. The producer advertises its products “per un mondo bello et sicuro” (for a beautiful and safe world). The tokens in the game are trees and the material is wood .

Ana Daldon was thinking about transforming the game using other materials and symbols to analyse if and how moral virtues are transferred into marketing products to save the consumers' “green soul”.


Anna Sophie Santner

Human-nature relationships (HNR) is one of the central topics of the DokNE collaboration partners. They are working with typologies of how people relate to nature. Anna Sophie Santner wants to visualise those suggested HNR types. She showed a film that she had produced in which a person acts as a representative of the different types. The person is wearing a mask covered with solar panels and presents herself consecutively as a different HNR type (“Nature Apathy”, “Nature Master”, “Nature User”, “Nature Partner”, “Nature Guardian”, “Nature Participant”, “Nature Distant Guardian”).
The following discussion was about irony and Greenpeace feelings and about the film's oscillating between artistic statement and (ironic) illustration of the typologies.