“A NeoPresocratic Manifesto”
Callicott supposes that the environmental turn in the humanities, grounded in ecology and evolutionary biology, foreshadows an emerging NeoPresocratic revival in twenty-first century philosophy.
Callicott supposes that the environmental turn in the humanities, grounded in ecology and evolutionary biology, foreshadows an emerging NeoPresocratic revival in twenty-first century philosophy.
By privileging music as a focus for applied ecology, Robin Ryan aims to deepen perspectives on the musical representation of land in an age of complex environmental challenge.
Looking to the work of Samuel R. Delaney, Sarah Ensor asks what it would mean to use the practice of cruising as a model for a new ecological ethic more deeply attuned to our impersonal intimacies with the human, nonhuman, and elemental strangers that constitute both our environment and ourselves.
Considering Caroline Wendling’s living artwork White Wood (2014) in northeast Scotland, the author examines the relationship between deep time, ecology, and enchantment.
Through an ethnographic account about the use of an electromagnetic water system in the Amish community, Nicole Welk-Joerger explores the conceptual meeting ground between sacred and secular worldviews in efforts that address the Anthropocene.
In this introduction to a special section on toxic embodiment, Olga Cielemęcka and Cecilia Åsberg examine variously situated bodies, land- and waterscapes, and their naturalcultural interactions with toxicity.
In this article, Sasha Litvintseva examines the history and materiality of asbestos to theorize toxic embodiment through the mutuality of the haptic sense and the breaching of boundaries of inside and outside. She develops this through an analysis of her own film project Asbestos (2016), shot at the mining town of Asbestos, Quebec.