"Editorial: Letter from Canberra"
As the millennium approaches it seems that environmental historians are increasingly drawn to the task of writing world history…
As the millennium approaches it seems that environmental historians are increasingly drawn to the task of writing world history…
Why do we continue to talk about the debate over global warming as if it were a scientific controversy?
What does the possibility of an early end to human existence as part of a more general biotic extinction mean for the latter day writing of history?
The aim of the paper is to present a summary of the current scholarship on the climate of the Carpathian Basin in the Middle Ages by drawing upon research from the natural sciences, archaeology and history.
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.
Elizabeth Callaway analyzes scientific literature on climate change, specifically from the Intergovernmental Panel on Climate Change, to consider how scientific representations structure, articulate, and inform our experience of time.
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.
In this Special Section on Familiarizing the Extraterrestrial / Making Our Planet Alien, edited by Istvan Praet and Juan Francisco Salazar, Jessica O’Reilly compares the paramilitary practicalities of Antarctic research station and field camp life with the visions of the Antarctic as a place of sublime wild nature, violent death, and climate disaster.
Libby Robin compares two major museum exhibitions on climate change that rely heavily on the IPCC models: Uppdrag Klimat (Mission: Climate Earth), at the Royal Natural History Museum in Stockholm (Naturhistoriska Riksmuseet), Sweden; and EcoLogic, at the Powerhouse Museum, Sydney.