ABSTRACT
What can alliances with trees bring about when it comes to teaching experiences in the face of the Anthropocene? This text analyzes the encounters between biological sciences and the arts as seen throughout the “Art, science and technology” course. Having been provoked by Haraway’s (2021) concept of “companion species” and established a connection with works by artists and with authors of education and philosophy, its interest in thinking about what happens between material relations and the systems of signs involved in those exercises which have resulted in two book-objects produced within the course: Floresta de luz and Floresta². The trees call upon people to think of teaching as a laboratory-atelier of perceiving-creating forests and to pay attention to the fabulations between biological sciences and the arts.
Keywords
Trees; Teaching; Companion Species; Multispecies Studies; Art and Science
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Note: Figure translation: In the territory there is always a place where all forces come together, tree or grove, in a melee of energies. The earth is this melee”; FIG. 01 MATA SANTA GENEBRA MONTAGE | SUSANA DIAS. TEXTO | GILLES DELEUZE E FÉLIX GUATARI, MIL PLATÔS: CAPITALISMO E ESQUIZOFRENIA, 1997. Source: 
Note: Figure translation: “I think our job is to make the Anthropocene as short and tenuous as possible, and to cultivate, with each other, in every conceivable way, epochs to come that can reconstitute the havens”. FIG. 04 - MATA SANTA GENEBRA AND EMBRAPA. ASSEMBLY | SUSANA DIAS GATHERS FIELD CLASS IN THE FOREST AND EMBRAPA POSTER. DRAWINGS | DRAWINGS FROM THE “CARBON” SERIES BY RAFAEL GHIRAI DEI I1. ANTHROPOGENOUS DONNA HARAWAY TEXT. CAPITALOCENO PLANTATIONOCENO, CHTHULUCENO. FAZENDO DARENTES. 2016. Source: 
Note: Figure translation: “Mata Santa Genebra is considered a living laboratory and its conservation is essential for the development of research with the aim of expanding knowledge and understanding of the local ecosystem and its biodiversity”. FIG. 06 MATA SANTA GENEBRA PHOTO AND FIELD CLASS | ALESSANDRA PENHA. TEXTO | PATRICIA LIA SANTAROSA - PLANO DE MANEIO MATA SANTA GENEBRA, 2010. Source: 
Note: Figure translation: “Plants, their history, their evolution, prove that living beings produce the environment in which they live, instead of simply being forced to adapt to it”. FIG.18 - MATA SANTA GENEBRA. DRAWING 1 SERIES “CARBON” BY RAFAEL GHIRALDELLI GATHERS MARÍLIA COSTA. ALESSANDRA PENHA AND PLANTAS DA MATA TEXT | EMANUELE COCCA, A VIDA DAS PLANTAS, 2018. Source: 
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Note: Figure translation: “What if we open ourselves to the idea that communicating is a call to the task of perceiving-making a forest through other modes of existence: photographic, filmic, performative, writing, drawing…?”. FIG. 24- MATA SANTA GENEBRA. FOTO AND MONTAGE | RAFAEL GHIRALDELLI BRINGS TOGETHER MARÍLIA COSTA, MATA LATTER AND SQUARE USED IN FIELD CLASS. TEXT | SUSANA DIAS, PRODUCED FOR THIS BOOK, 2019. Source: 
Note: Figure translation: “A forest is being together taken seriously”. FIG.30- CASA DE CULTURA FAZENDA ROSEIRA PHOTO | FACEBOOK OF ROSEIRA. PRESENTES | VANESSA DIAS. ALESSANDRA RIBEIRO. MARIA ALICE RIBEIRO, VERA ZUIM, VANDIR GOMES AND BIANCA LÚCIA RIBEIRO. TEXT | SUSANA DIAS, PRODUCED FOR THIS BOOK, 2019. Source: 
Note: Figure translation: “Entering here is knowing that we have resistance, we have our 189-year-old Flamboyant tree totally embraced by the Swiss cheese plant”. FIG. 37 – CASA DE CULTURA FAZENDA ROSEIRA. PHOTO | GLAUCIA PÉREZ PHOTOGRAPHS FLÁVIA TAMIRIS, CRIS MONTEIRO, PAULA BATISTA, CAROLINA AVILEZ, CAROLINA SCARTEZINI AND MARIA CORTEZ. TEXT AND FLAVIA TAMIRIS, FRAGMENT COLLECTED DURING GUIDED TOUR, ROSEIRA, 2019. Source: 
Note: Figure translation: “A few million years ago the earth reached a two degree rise in temperature. That’s millions of years ago. We’re achieving the feat of getting close to that in just 100 years”. FIG. 52 - PRAÇA DA PAZ. UNICAMP. PHOTO | CAROLINA AVILEZ. WORKSHOP | ‘PHYTOTYPE AND HERBARIA POE PEAKS’ SARA MELO. TEXT | EDUARDO ASSAD. FRAGMENT COLLECTED BY LUCIANA MARTINS IN A LECTURE GIVEN AT EMBRAPA 2019. Source: 
Note: Figure translation: “What is called objectivity by experimental scientists therefore depends on a very particular and very selective creative art, as it means that what they are dealing with must be admitted as a ‘partner,’ within a very unusual and entangled relationship”. FIG. 55- LABJOR, UNICAMP. PHOTO AND MONTAGE | SERIES ‘TECHNIQUE OF THE PLOTS’ BY ALESSANDRA PENHA AND SUSANA DIAS TEXT | ISABELLE STENGERS. NO TEMPO DAS CATÁSTROFES, 2015. Source: 
Note: Figure translation: “Landscape ecology deals, in general, with very large spatial and temporal scales, making it difficult, and often impossible, to carry out a well-controlled and designed experiment”. FIG. 65 - MATA SANTA GENEBRA AND CASA DE CULTURA FAZENDA ROSEIRA. DRAWING SERIES “CARBON” BY RAFAEL GHIRALDELLI THAT BRINGS TOGETHER TREES FROM THE FOREST, THE SCIENTIST MARIE CURIE, NOBEL PRIZE IN CHEMISTRY IN 1911, AND ALICE CORETTI ASSEMBLING THE INSTALLATION “(IM)POSSIBLE AFRICAS IN THE SCHOOL” BY GLAUCO ROBERTO IN ROSEIRA. TEXT | JEAN PAUL METZGER, ESTRUTURA DA PAISAGEM, 2003. Source: 
Note: Figure translation: “We need experience of mutual co-learning, in order to create multiple and mobile common causes, solidarities of struggle against the feeling of impotence that the installed divisions manufacture”. FIG. 70 - PRAÇA DA PAZ, UNICAMP. LAMBE | SERIES “SINTROPIZ-AR O OLHGAR” OF MARÍLIA COSTA. TEXT | ISABELLE STENGERS, IN INTERVIEW 2015. Source: