Search

Consider the existence of six identical trees of the same species across a variety of environments. The first tree is in a wild and isolated landscape. The second is in a wilderness park. The third is in a heavily forested “tree plantation” owned by International Paper. The fourth is in the Ramble in Central Park. The fifth is in a suburban yard. The sixth is inside the six-story atrium of a Manhattan skyscraper. This paper begins with the intuition that the identical trees have different values because they exist in different environments and biological-social contexts. To understand the different evaluations of the trees we must think along a spectrum that incorporates both axiology and ontology. This thought experiment is useful in exploring arguments about both the management and the preservation of the natural world. The conclusion is that we must think along a spectrum of natural being and value to understand the dualism between humanity and nature and thereby avoid the domination of the natural environment. [ABSTRACT FROM AUTHOR]

Abstract: This paper addresses issues of race, species, and kind through an incident that took place 25 May 2020, when a birder and a dog owner crossed path in the Ramble of New York's Central Park. The birder, a gay Black man, was searching for scarlet tanagers and other songbirds. The dog owner, a white woman, was walking Henry, her blond cocker. The birder asked the dog owner to leash her spaniel, a bird dog, as required by park rules. The dog owner called 911, reporting that an 'African-American man was putting her in danger'. There is a pre-history to their encounter. Our dubious guide is John James Audubon, whose Ornithological Biography presents haunting scenes of life out of doors, the ramble, or the hunt, and how humans and animals prey upon each other. But the decisive voice is that of Frederic Law Olmsted, who not only designed Central Park (with Calvert Vaux), but also provided the moral and ethical code for its police force. Once it is shown how all the actors (human and animal) and the setting are in fact 'related,' it is the presence of the police in the park that must be explained. [ABSTRACT FROM AUTHOR]

In April 2018, a statue commemorating J Marion Sims was removed from Central Park, New York, and relocated to Green-Wood Cemetery in Brooklyn, where he is buried. In 1849, Sims developed a repeatable surgical solution for obstetric fistula, a debilitating condition caused by prolonged, obstructed labour, which damages the vaginal wall, resulting in permanent leakage via the vagina from either the bowel or bladder and sometimes both. Initially, Sims appears worthy of widespread adulation. There are several commemorative statues of him, he has been afforded the title of the 'father of modern gynaecology', and for 37 years, the American Urogynecological Society held an annual eponymous lecture, among other honours. Obstetric fistula rendered women social pariahs, unable to engage fully in either domestic or public life. Sims was able to create a reliably repeatable surgical solution but did so through ongoing experimentation on enslaved women. One of these women, Anarcha, was operated on at least 30 times without the use of anaesthesia over a four-year period, despite the availability of anaesthesia for the majority of the experimentation period. Over 170 years later, Sims' story retains its relevance because it represents a clear point at which race, gender and class intersect with medicine. This paper will use Sims' own account to drive the narrative, then examine matters of agency, ethics and consent that come from it, to show that his work, and subsequent renown, were only possible because of the inherent violence of chattel slavery and other systemic forms of oppression. [ABSTRACT FROM AUTHOR]

In April 2018, a statue commemorating J Marion Sims was removed from Central Park, New York, and relocated to Green-Wood Cemetery in Brooklyn, where he is buried. In 1849, Sims developed a repeatable surgical solution for obstetric fistula, a debilitating condition caused by prolonged, obstructed labour, which damages the vaginal wall, resulting in permanent leakage via the vagina from either the bowel or bladder and sometimes both. Initially, Sims appears worthy of widespread adulation. There are several commemorative statues of him, he has been afforded the title of the 'father of modern gynaecology', and for 37 years, the American Urogynecological Society held an annual eponymous lecture, among other honours. Obstetric fistula rendered women social pariahs, unable to engage fully in either domestic or public life. Sims was able to create a reliably repeatable surgical solution but did so through ongoing experimentation on enslaved women. One of these women, Anarcha, was operated on at least 30 times without the use of anaesthesia over a four-year period, despite the availability of anaesthesia for the majority of the experimentation period. Over 170 years later, Sims' story retains its relevance because it represents a clear point at which race, gender and class intersect with medicine. This paper will use Sims' own account to drive the narrative, then examine matters of agency, ethics and consent that come from it, to show that his work, and subsequent renown, were only possible because of the inherent violence of chattel slavery and other systemic forms of oppression. [ABSTRACT FROM AUTHOR]

This article examines the life and work of the nineteenth-century French-American artist Victor Prevost. While Prevost's name is familiar to photography historians, the diversity of his artistic accomplishments has not been fully appreciated. An artist celebrated for work in several mediums, Prevost was already making large-format calotypes in 1851 while living in New York City. He was also responsible for innovations in telescopic photography, joining with astronomers at the West Point Military Academy in 1854 to capture a solar eclipse on paper. This paper seeks to broaden knowledge of Prevost's life and work as a commercial artist in New York during the nineteenth century. [ABSTRACT FROM AUTHOR]

This paper examines the significance of Strawberry Fields, the memorial to John Lennon in Central Park, New York City, as a place of secular pilgrimage. Situated within postmodern conceptualizations of secular pilgrimage, Strawberry Fields is shown to be the spatial focus of a variety of discourses related to John Lennon's life and music. Furthermore, this paper illustrates how autobiography as a qualitative research method can reveal the sentiments that motivate particular pilgrims to places associated with major figures in popular music. [ABSTRACT FROM AUTHOR]