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<p>In this paper, we explore Beethoven’s Ninth Symphony and Singapore’s Cloud Forest; two artefacts that heighten an awareness of life forms beneath the earth’s surface. We take a line from Fredrich Schiller’s poem Ode to Joy—“even the worms find sensuality”—and demonstrate its profundity through Beethoven’s landmark composition. Singapore’s Cloud Forest acts as a foil in our advocacy for an aesth-ethical consideration of the hitherto silenced voices of flora and fauna, noting a turn from misanthropic, revengeful tendencies, to a philanthropic call for generous inclusion. Our analytic method explores looking sideways as a means of bringing disparate artefacts into a polyphonic examination. We explore these works through a process ethics lens, operationalizing A. N. Whitehead’s process philosophy. To conclude we propose four ethical responses of lamenting, acting, reflecting, and expressing joy without borders.</p>

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“Even the Worms…”

  • 期刊论文

  • 出版模式：

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  • 发表日期：

    2026年7月29日

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  • Ralph J. Bathurst,
  • Sitong Michelle Chen

摘要

In this paper, we explore Beethoven’s Ninth Symphony and Singapore’s Cloud Forest; two artefacts that heighten an awareness of life forms beneath the earth’s surface. We take a line from Fredrich Schiller’s poem Ode to Joy—“even the worms find sensuality”—and demonstrate its profundity through Beethoven’s landmark composition. Singapore’s Cloud Forest acts as a foil in our advocacy for an aesth-ethical consideration of the hitherto silenced voices of flora and fauna, noting a turn from misanthropic, revengeful tendencies, to a philanthropic call for generous inclusion. Our analytic method explores looking sideways as a means of bringing disparate artefacts into a polyphonic examination. We explore these works through a process ethics lens, operationalizing A. N. Whitehead’s process philosophy. To conclude we propose four ethical responses of lamenting, acting, reflecting, and expressing joy without borders.