By Alan Weisman, Richard Mabey, Rick Bass, Helen Caldicott, Michelle Benjamin
David Suzuki's lifelong paintings as an environmentalist, naturalist, and scientist have stimulated numerous others of their struggle to save lots of the planet, 20 such devotees of them have contributed to this inspiring assortment. those reporters, scientists, writers and environmentalists have taken their enthusiasm for Suzuki's philosophy and funneled it into their very own own reminiscences, manifestos, and essays: Rick Bass describes his love for the Yaak Valley in Montana; Richard Mabey takes readers to a moonlit may well night in Suffolk; David Helvarg tells usa stirring seashore reminiscence from his youth. it doesn't matter what trip those writers take us on, the unifying topic in their paintings is often an analogous: a deep and abiding love of nature — encouraged and shared via David Suzuki.
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Extra resources for A Passion for This Earth: Writers, Scientists, and Activists Explore Our Relationship with Nature and the Environment
HusserI would perhaps answer in this way: if we are to assume an object which exists 'in itself', then only on the basis of a cognition which is accomplished in acts of consciousness. This means WHAT IS NEW IN HUSSERL'S 'CRISIS' 37 that for such an object we must uncover the correlate of 'subjectivity' in which its being and being-thus is demonstrated. But when this occurs, maintains HusserI, its being, as well as its sense of being derive from this subjectivity (the corresponding acts of consciousness) which are correlative to it.
Although the methodological procedure in which transcendental phenomenology is founded is more correct, it must be said that at decisive junctures the text shows hardly any progress. Difficulties in some important points could perhaps have been overcome by some very far-ranging and innovative analyses. But the role which Husserl had intended for the Crisis made it impossible for him to put before the reader the concrete results of his studies, which had lasted for decades. The attempt would have taken several years of work, and the Crisis would have reached a size of several volumes, and would thus have failed in its purpose.
Before the epoche the intentional object which belonged to the act of perception, was, as it were, 'transparent', one could look through it so that it was not itself visible. Because of its complete transparency we had, or at least thought that we had, converse directly with the real thing. The epoche has as its consequence that we have lost the immediate contact with reality and that we now have to do only with the intentional object and with a special content (Gehalt) with which it now seems to feign the real object which was earlier given directly.
A Passion for This Earth: Writers, Scientists, and Activists Explore Our Relationship with Nature and the Environment by Alan Weisman, Richard Mabey, Rick Bass, Helen Caldicott, Michelle Benjamin