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dc.contributor.authorRushton, Stephanie
dc.date.accessioned2019-01-31T14:57:44Z
dc.date.available2019-01-31T14:57:44Z
dc.date.issued2018-09-01
dc.identifier.citationRushton, S. (2018) ‘The archaea: painting digital photography’ in Robinson, C. (ed.) 'PaintingDigitalPhotography: Synthesis and difference in the age of media equivalence.' Newcastle Upon Tyne: Cambridge Scholars Publishing, pp. 1-29.en_US
dc.identifier.isbn978-1-5275-1110-1
dc.identifier.urihttp://hdl.handle.net/10545/623469
dc.description.abstractHow does one make a photographic body of work about Deep Ecology; the philosophy that considers humans to be equal to and no more important than any other species, advocating a radical re-adjustment of the relationship between humans and nature? This was the question I asked myself when I began a photographic project in 2014 entitled The Archaea. My interest stems from exploring the ecological relationship between humanity and the earth, and there are many sub-fields of psychology emerging to study these effects, such as eco-psychology or conservation psychology.en_US
dc.description.sponsorshipN/Aen_US
dc.language.isoenen_US
dc.publisherCambridge Scholars Publishing.en_US
dc.relation.urlhttps://www.cambridgescholars.com/paintingdigitalphotographyen_US
dc.subjectphotographyen_US
dc.subjectdeep ecologyen_US
dc.titleThe archaea: painting digital photography.en_US
dc.typeBook chapteren_US
dc.contributor.departmentUniversity of Derbyen_US


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