The Age of Stupid
This docudrama revolves around a man living in the devastated future world of 2055, looking back at old footage from our time and asking: Why didn’t we stop climate change when we had the chance?
This docudrama revolves around a man living in the devastated future world of 2055, looking back at old footage from our time and asking: Why didn’t we stop climate change when we had the chance?
This paper compares the heuristic potential of three metaphorical paired concepts used in the relevant literature to characterise global relationships between the anthroposphere and the ecosphere.
In this paper Roger Fjellstrom argues that there is a lack of coherence between his ethical ideology and his actual ethical theory.
In her essay, Katie McShane argues that even if we grant the truth of Bryan Norton’s convergence hypothesis, there are still good reasons to worry about anthropocentric ethics.
The Anthropocene emphasizes that all of us are collectively responsible for the future of the world. Society will have to legitimize science and technology, focusing in particular on education as one of the most powerful tools for transformation, in order to make the Anthropocene long-lasting, equitable, and worth-living.
This article argues that a paradigm change in political anthropology might be reasonable and realistic as a way of establishing dams against human self-destruction in the Anthropocene.
The essay suggests that what is absent from the scientific discourse on the Anthropocene is a postcolonial perspective that points out the fact that we are not talking about generalizable social, economic, and cultural structures and belief systems, but that instead we are describing very specific political, economic, and discursive regimes of power.
Using the examples of matsutake mushrooms in Japan, the Meratus Dayaks of the rainforests of Kalimantan, and the “rubble ecologies” of post-war Berlin, the article argues that we must pay attention to the cultural and biological synergies through which diversity continues to emerge, even in ruins.
Thneeds Reseeds, a sculptural artwork by Deanna Pindell, is a biotactical intervention aimed at exposing and derailing dominant regimes for managing sylvan life. The “thneeds” are fuzzy softball-sized sculptures made from old sweaters. Left in the forest, these sculptures constitute brightly-colored habitats for forest plants and animals.
With reference to the Satoyama Initiative of the Japanese government, this article looks at how biocultural diversity projects can move beyond reproducing the old dichotomy between “modern” scientific and “traditional” local knowledge.