The author has argued that the central concern for the Frankfurt School of critical theory remains a foundationally necessary task for ecopedagogy generally: to understand the domination of nature in all of its complexity and totality as part of an ongoing transformative inquiry (inclusive of both theorization and transgressive action) into the possibilities of achieving a fully liberated world. Knowledge of nature is always mantic--it neither declares nor conceals itself absolutely, but rather takes the form of an enigmatic sign that demands one's diagnostic critique. Accordingly, ecopedagogy looks to emergent subcultural valences and avant-garde representations to critically listen for novel generative themes that might be the germinative subjects of multitudinous dialogues on behalf of a new science of life. It seeks to mount a form of posthuman cultural studies in accordance with the normative demands made by a revolutionary zoophilia. In this article, the author talks about the film "Avatar" as a representation of planetary zoophilia. He seeks to use the idea of zoophilia inclusively as a cognitive space in which the multitude of qualities common to the act of love can be affiliated with one another through theoretical reflection. While the author's claim is that zoophilia acts as an educative force, this essay's social focus on the pedagogy of love moves beyond teacher-student or school-focused discussions offered by theorists. The author offers an approach to educational love that shares sympathies with the larger cultural and political treatment given by Burch (2000) and hooks (2009), as well as Freire (1998). (Contains 10 notes.)