Religion and Ecology 2026

     In a rather excellent book designed to explain Eastern Orthodox beliefs to a contemporary audience, called The Orthodox Faith, Worship, and Life , Hieromonk Gregorios explains Orthodox views on the creation of world and humanity's role within it. Gregorios says that "an overflowing of Trinitarian love brought the world and mankind into being ... divine goodness had perforce to pour forth and flow out, and so to multiply the recipients of God's beneficence; for this was proof of the highest Goodess', in other words of infinite divine love" (Greogrios 2016, 27). According to my understanding, this means that Love is the foundation of reality; the beginning and end of all creation, and the song all creatures are invited to join in singing. Later, Gregorios says that "All creation, from its wondrous microcosmic elements to the distant galaxies proclaims the existence of God" (Gregorios 2016, 30). From the top to the bottom, from the center to the outerm...

     One key idea that stood out to me is that environmental aesthetics is not just about what looks “beautiful,” but about how we experience environments as a whole. This includes not only visual elements but also sounds, textures, and even scientific understanding of nature. For example, some philosophers argue that knowing about ecology or geology can deepen our appreciation of a place, while others emphasize direct, immersive experiences in nature rather than detached observation.      Another important connection is between aesthetics and environmental ethics. The article discusses “aesthetic protectionism,” the idea that environments should be preserved partly because of their aesthetic value. This suggests that how we perceive beauty in nature can influence how we treat it, which feels especially relevant in the context of climate change and human impact on ecosystems.      Overall, environmental aesthetics challenges us to rethink o...

  In class, we have had a few presentations on the chapters of Evan Eisenberg’s The Ecology of Eden so far . One of the most recent presentations was about the concept of Arcadia, which refers to an idealized, pastoral vision of rustic innocence, harmony with nature, and simple, quiet pleasure. Originating from a mountainous region of Greece, it became a literary and artistic archetype of a peaceful, unspoiled wilderness (or utopia). During the presentation on Chapter 13, “ Arcadia ,” I was struck by how the idea of a “perfect” balance between humans and nature is much more complicated and fragile than it seems. The presenter (Jonas Miller) explained Arcadia as an imagined middle ground between untouched wilderness and heavily developed civilization, or a place “between the mountain and the tower”. It’s the kind of landscape people tend to idealize: not too wild, not too urban, but something that feels harmonious and livable. At first, this idea felt comforting, because it reflects...

     Chapter 22 of The Ecology of Eden presents two contrasting ways humans approach nature: “planet managers” and “planet fetishers.” Managers believe humans should actively control and shape the environment using science and technology to create a more stable and productive world. In contrast, fetishers argue that humans should step back entirely and allow nature to exist in its untouched, “pure” state. Eisenberg shows that both perspectives are rooted in the idea of an idealized “Eden,” but they approach it in very different—and often unrealistic—ways.      Eisenberg ultimately suggests that neither extreme is effective because humans are already deeply embedded in natural systems. Trying to fully control nature can lead to unintended consequences, while completely withdrawing ignores the reality that human influence is unavoidable. Instead, he argues for a more balanced relationship where humans recognize their role within ecosystems and act responsib...

Chapter 23, “Bebop,” from The Ecology of Eden introduces the idea of “earth jazz” as a way of understanding the relationship between humans and the natural world. Eisenberg compares nature to a bebop jazz quartet, where each musician plays a role that contributes to the overall sound. While one musician may take the lead with a solo, the rest of the group supports, responds, and adapts to what is being played. This interaction highlights the importance of improvisation and collaboration. In this metaphor, humans are like the lead musician, but the rest of the band represents the natural world. Even though the soloist may stand out in the moment, the music would not exist without the other musicians keeping rhythm, harmonizing, and responding to the performance. Eisenberg suggests that the same idea applies to nature. Humans are not separate from the environment but part of a much larger system that depends on constant interaction and responsiveness. What stood out to me most was the em...

Ecology of Eden chapter 2, titled "Axis Powers", discussed the rise of diversity during the Cenozoic Era primarily due to mutualistic relationships. Eisenberg brings up multiple examples of mutualism other than humans and grasses, as reviewed in chapter 1, including the cell, leafcutter ants and their fungal colonies, and ants and aphids. I found it interesting to read how the chapter discussed the impacts of these relationships in terms of evolution. Different species rise to prominence while other species are displaced, depending on the relationship. Additionally, I thought about this chapter from a modern-day perspective. Chapters 1 and 2 discuss how human populations expanded due to mutualistic relationships with other species. I think that today, it's also true that humans rely on relationships with other organisms for survival and the ability to thrive the way we do. Things we may take for granted today, including medicine and some forms of technology, are only poss...