"Slamming the Anthropocene: Performing climate change in museums"
Libby Robin and Cameron Muir discuss representations of the Anthropocene in museums and events.
Libby Robin and Cameron Muir discuss representations of the Anthropocene in museums and events.
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 the special section “Provocations,” Noel Castree reviews the growing stream of publications authored by humanists about the Holocene’s proclaimed end. He argues that these publications evidence environmental humanists as playing two roles with respect to the geoscientific claims they are reacting to: the roles of “inventor-discloser” or “deconstructor-critic.”
In this special commentary section titled “Replies to An Ecomodernist Manifesto,” edited by Eileen Crist and Thom Van Dooren, Clive Hamilton examines Erle Ellis’ ‘good Anthropocene,’ an unlikely juxtaposition which has now been amplified into the idea of the “great Anthropocene” and set out in An Ecomodernist Manifesto.
Full article by Heather I. Sullivan.
With a focus on global cancer epidemics, Nina Lykke discusses biopolitics in the Anthropocene against the background of a notion of dual governmentality, implying that efforts to make populations live and tendencies to let them die are intertwined.
In this article, Antoine Acker provides a different perspective on the Anthropocene.
Andrew Whitehouse considers the semiotics of listening to birds in the Anthropocene by drawing on Kohn’s recent arguments on the semiotics of more-than-human relations and Ingold’s understanding of the world as a meshwork, and comparing the work of Bernie Krause with responses to the the Listening to Birds project.
In this article for a special section on “Inheriting the Ecological Legacies of Settler Colonialism,” Lesley Instone and Affrica Taylor engage with the figure of the Anthropocene as the impetus for rethinking the messy environmental legacies of Australian settler colonialism.
Considering Caroline Wendling’s living artwork White Wood (2014) in northeast Scotland, the author examines the relationship between deep time, ecology, and enchantment.