Hagood looks at Rachel Carson’s earlier popular publications on the natural history of the oceans and their impact on Silent Spring (1962).
Walker focuses on uncertainty as a boundary device that shapes scientific ethos in crucial ways and negotiates a relationship between technical science and public deliberation.
Alex Lockwood tries to measure the importance of Rachel Carson’s work in its affective influence on contemporary environmental writing across the humanities.
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.
