Arons, Wendy, and Theresa J. May. 2012. Readings in performance and ecology. New York: Palgrave Macmillan.
Heim, Wallace. âEpilogue: Thinking ForwardâŠâ
âFinding an ecological sensibility where it may not have been intended is a reminder to contemporary artists of the importance of historical and social context in shaping ecological ideas, even when these ideas may not be directly articulatedâ (212). The attention of critics puts pressure on artists to be cognizant, conscious of the ecological ramifications / assumptions.
 âmany artists eschew an association with environmentalism or ecological art while producing work displaying incisive and innovative ecological understandingâ (212).
 âA general ethos of ecological performance stems from an impetus toward ecologically beneficial thinking, sensibilities, and practices. One of the tasks of ecodramaturgy involves questioning the prevailing values in relation to natureâ (212).
 âinvestigating the way that privileges of education and class, or assumptions about race, gender, and physical abilities underlie the rationales and expectations of that impetus toward ecologically beneficial sensibilitiesâ (212).
 âThe capacity of theater and performance to experiment with new ecological identities, new modes of behavior, and diverse values is imperative for the vitality of performance and to invigorate the task of finding new ways to live. Criticism can articulate these queered evologies and relate them to ecological thinking more widelyâ (213).
 Ethics and aesthetics. Animal in theater and art. Animal-human, consciousness, parameters of life. Role of scientific knowledge. âquestions of what defines âinformation,â how information are made, and how tis claims for validity are maintainedâ (213).
 âTheories of mimesis relate to the immediacy of art, to how an experience is brought into existence, made present, and how it becomes recognizable as something meaningful in itself, as well as to more semantically derived theories of representation. Ecocriticism has more work to do in exploring the many dimensions of the mimetic in performance, such as its relations to temporality or to transformation, as well as reflecting on how nature and ecological understanding is representedâ (213). Sensate immediacy. Immanent embodied experience of ecological performance. Theories of kinesthesia. Mirror neurons. Empathy. Embodiment. Feelings of reciprocity. Phenomenological. Interplay.
 âEmotions about nature are implied in interpretations; an ache, or a longing, runs through these chapters. But the emotions in performance as they relate to nature-human relations is an area yet to be investigated in itself. The emotions expressed may not be related only to the referents of the environment or nature, but to the creation of emotional complexities that blur the human and nature. The capacity of performance to explore unmapped forms of feeling, unantincipated, extreme, or diffused emotions, contributes to the efforts to establish performance as a special mode of ecological understandingâ (214). Performance as epistemology of nature.
 Material response to unsustainability.
 âLooking more widely at ecological performance, the model of the artist as scout, giving a warning of the future, may still hold, as might the model of the arts as providing rehearsals for another way of living. But in times of climate instability, there need to be new forms of art-making, improvisation, and collaboration with lands and species that engender an ability to respond to conditions of change, when there is no principle to guide, no structure of law, or no indication of what might be the right course of actionâ (215). Complex discourse. Conversation of contingencies. Shared.