"Artefacts and Living Artefacts"
In this paper, Helena Siipi explores some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects.
In this paper, Helena Siipi explores some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects.
This paper aims to introduce the German Romantic poet Novalis into the discussion of the modern ecological crisis.
Hub Zwart presents an environmental analysis of Henrik Ibsen’s A Public Enemy.
In this article Marianne O’Brien considers and reflects upon the aesthetic significance of Simon Hailwood’s conception of nature as articulated in an earlier volume of this journal in his paper ‘The Value of Nature’s Otherness’ (Hailwood 2000: 353–72).
Hornby draws attention to the work of Danish artist Olafur Eliasson, whose immersive installations aim to increase environmental awareness, arguing that Eliasson’s environments are fully orchestrated affairs that share the technologies and efforts of the twentieth and twenty-first centuries’ militarization of climate control.
Through readings of the works of artist/sculptor Ilana Halperin and poet Alice Oswald, David Farrier explores the idea of Anthropocene as marked by haunted time.
Andrew Mark describes Bob Wiseman’s allegorical piece, Uranium, arguing that it accesses emotion to alter the consciousness of percipients.
In the special section “Imagining Anew: Challenges of Representing the Anthropocene,” Tobias Boes examines the hermeneutic and poetic operations by which we as human beings turn our very planet into a signifier for our collective existence as a species, a process he refers to as “planetary mediation.”
In the special section “Imagining Anew: Challenges of Representing the Anthropocene,” Wolfgang Struck’s essay examines the renewed attraction to the medium of the atlas in light of representational challenges raised by the model of the Anthropocene.
In this commentary, Stefan Helmreich considers how Hokusai’s famous woodblock print, The Great Wave, has recently been leveraged into commentaries upon the Anthropocene, and how the image has been adapted to speak to the contemporary human-generated global oceanic crisis.