The Encyclopedia of Earth
The Encyclopedia of Earth is a free, expert-reviewed collection of content contributed by scholars/professionals who collaborate and review each other’s work.
The Encyclopedia of Earth is a free, expert-reviewed collection of content contributed by scholars/professionals who collaborate and review each other’s work.
The Environmental Humanities Lab at the University of Gothenburg (GUEHL) is a cross-disciplinary platform for scholars and scientists interested in humanities perspectives on human-environment interaction.
Seeing the Woods is the official blog of the Rachel Carson Center for Environment and Society.
The European Society for Environmental History (ESEH) aims to stimulate dialogue between humanistic scholarship, environmental science and other disciplines. It welcomes members from all disciplines and professions who share its interest in past relationships between human culture and the environment.
The American Society for Environmental History (ASEH) promotes scholarship and teaching in environmental history, supports the professional needs of its members, and connects its undertakings with larger communities.
The Climate History Network (CHN) is an organization of scholars who reconstruct past climate changes and, often, identify how those changes affected human history.
The essays in this collection explore how masculine roles, identities, and practices shape human relationships with the more-than-human world.
Jim Fleming gives an overview of the male-dominated state of climate engineering proposals and criticizes the current masculinist nature of climate intervention.
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.
Margret Grebowicz argues that James Balog’s Extreme Ice Survey (EIS), in particular the time-lapse films of glaciers receding, presents a unique example of what Guy Debord calls the ”tautological” nature of spectacle, its capacity to serve as its own evidence at the same time as it becomes a mode of relation among people.