"SAD in the Anthropocene: Brenda Hillman’s Ecopoetics of Affect"
Laurel Peacock on Brenda Hillman’s ecopoetic practice and how we can shift our understanding of our affective relationship to the environment.
Laurel Peacock on Brenda Hillman’s ecopoetic practice and how we can shift our understanding of our affective relationship to the environment.
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?
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.
Chisholm’s article explores how contemporary music cultivates ecological thinking and climate-change awareness. Her essay investigates the music of John Luther Adams and his style of composing with climatic elements and natural forces.
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.
From an analysis of 1500 articles published from 2005 to 2013, Anshelm and Hansson distill four storylines representing geoengineering advocacy in the public discourse in mass media.
In his article for the special “Living Lexicon for the Environmental Humanities Section,” Mike Hulme goes beyond traditional, institutional definitions to view climate as an idea which mediates between the human experience of ephemeral weather and the cultural ways of living which are animated by this experience.
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.