397
© Springer Nature Switzerland AG 2021
M. C. Tobias, J. G. Morrison, On the Nature of Ecological Paradox,
https://doi.org/10.1007/978-3-030-64526-7_44
Chapter 44
Collodi’s Garden and the Misadventures
of Pinocchio
44.1 The Ecological Imagination
Everything is as it appears, and nothing is. Every work of the imagination deliriously
holds itself hostage but may engender all possible contexts for reinventing those
alluring no exits which do not otherwise exist but in our free reign of fantasy. A tree
is a tree is a tree. Yes. But it is also a real tree! A poet has roots, as well, and, in the
case of the author of “Pinocchio,” those taproots lay claim to a vast fortune of historic details. Some might call them biomimicry, or fantastic trivia, while yet others
will obtain vestiges, even the vague hint of a glimpse, a horizon line, a tortured
look-alike knot in the forest that helps explain so much, so many heretofore unexamined markings in the sand, ancient carvings into the bark. Collodi’s gardens are
the mythic tone that people can realize in that conversation between humanity and
botany; a species of ecological bubble that is environmentally friendly, a carbon
sink at the very least. As importantly, Collodi’s story does not so much build up the
theatrics of hope in a world increasingly gutted, on the brink of a transformation that
will usurp all of us, but provides at the very least a most appealing footnote in the
history of the paradox: a true solution, even for just a pleasant morning, a leisurely
stroll (Fig. 44.1).
Pinocchio knows well the difference between truth and fiction; comes to learn of
loyalty and the ecosystem that made him. His hubris and impulses state clearly the
condition of a hybrid evolutionary system. Pinocchio is an mRNA template for
reproducing other bubbles, gardens, concepts, throughout the mimetic landscape
oriented toward surviving the near-term. Paradoxically, he is a figment of the imagination, of course. But, in any mind, at any time, a tree becomes something other
than itself. And that is the origin of both ecodynamism and free-will.
There is the man, Enrico Mazzanti, a nineteenth-century engineer who would
turn to cartoons to quench an otherwise indecipherable yearning. What gave him to
indulge this conception of the most famous puppet in the world? His image of
Pinocchio graces the cover of the original aggregated book by one military volunteer,
© Springer Nature Switzerland AG 2021
M. C. Tobias, J. G. Morrison, On the Nature of Ecological Paradox,
https://doi.org/10.1007/978-3-030-64526-7_44
Chapter 44
Collodi’s Garden and the Misadventures
of Pinocchio
44.1 The Ecological Imagination
Everything is as it appears, and nothing is. Every work of the imagination deliriously
holds itself hostage but may engender all possible contexts for reinventing those
alluring no exits which do not otherwise exist but in our free reign of fantasy. A tree
is a tree is a tree. Yes. But it is also a real tree! A poet has roots, as well, and, in the
case of the author of “Pinocchio,” those taproots lay claim to a vast fortune of historic details. Some might call them biomimicry, or fantastic trivia, while yet others
will obtain vestiges, even the vague hint of a glimpse, a horizon line, a tortured
look-alike knot in the forest that helps explain so much, so many heretofore unexamined markings in the sand, ancient carvings into the bark. Collodi’s gardens are
the mythic tone that people can realize in that conversation between humanity and
botany; a species of ecological bubble that is environmentally friendly, a carbon
sink at the very least. As importantly, Collodi’s story does not so much build up the
theatrics of hope in a world increasingly gutted, on the brink of a transformation that
will usurp all of us, but provides at the very least a most appealing footnote in the
history of the paradox: a true solution, even for just a pleasant morning, a leisurely
stroll (Fig. 44.1).
Pinocchio knows well the difference between truth and fiction; comes to learn of
loyalty and the ecosystem that made him. His hubris and impulses state clearly the
condition of a hybrid evolutionary system. Pinocchio is an mRNA template for
reproducing other bubbles, gardens, concepts, throughout the mimetic landscape
oriented toward surviving the near-term. Paradoxically, he is a figment of the imagination, of course. But, in any mind, at any time, a tree becomes something other
than itself. And that is the origin of both ecodynamism and free-will.
There is the man, Enrico Mazzanti, a nineteenth-century engineer who would
turn to cartoons to quench an otherwise indecipherable yearning. What gave him to
indulge this conception of the most famous puppet in the world? His image of
Pinocchio graces the cover of the original aggregated book by one military volunteer,