Abstract

Against the backdrop of approaches that frame the Anthropocene in scenic terms (“Anthropo-scene,” Una Chaudhuri), this paper examines scenic ecologies in Arno Schmidt’s Black Mirrors and Werner Herzog’s Lessons of Darkness. Based on the analysis of the spatio-temporality and agency of Schmidt’s and Herzog’s scenic ecologies, the essay explores the extent to which the chorus facilitates a rethinking of the Anthropo(s)cene. The choral in the Anthropocene is thereby conceptualized in three ways: as a scene of force, “scale critique” (Derek Woods), and the emergence of the ground. Schmidt’s and Herzog’s eco-scenarios are scenes of darkness. What reworking does the scenic undergo in and out of darkness and what does this imply for ecological thinking? Under the sign of darkness, the ecological scene opens up as one of extinction, a scene of an uncanny ecology, whose scenic vehicle is the chorus.

摘要

以风景术语（“人类场景”，Una Chaudhuri）构建人类世的方法为背景，本文探讨了阿诺·施密特的《黑镜》和沃纳·赫尔佐格的《黑暗的教训》中的风景生态。基于对施密特和赫尔佐格风景生态学的时空性和能动性的分析，本文探讨了合唱团在多大程度上促进了对人类场景的重新思考。因此，人类世的合唱团被概念化为三种方式：作为一种力量的场景、“尺度批判”（德里克·伍兹）以及地面的出现。施密特和赫尔佐格的生态场景是黑暗的场景。风景区在黑暗中和黑暗中经历了怎样的改造？这对生态思维意味着什么？在黑暗的象征下，生态场景呈现出一种灭绝的景象，一种不可思议的生态场景，其景观载体是合唱。