"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.
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.
Drawing on interviews with 25 Australian environmental leaders, the authors ask how international instruments with cosmopolitan ambitions influence the discourse and practice of national and subnational environmentalists attempting to find common ground with Indigenous groups.
This article focuses on contemporary literary and musical interpretations of changing relationships between humans and the environment in Mongolia. The author explores how these works relate to deep time, and crosshatches biographical, mythological, and geologic understandings of time.
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 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.
Ryan Tucker Jones recounts how environmental activist organizations came into conflict with indigenous groups in the Bering Straight.
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.
This paper uses data from a long-term ethnography of both the local people and the conservation agenda in the Pantanal wetland, Brazil, to discuss how environmentalists used the National Policy for the Sustainable Development of Traditional Peoples and Communities (PNDSPCT) to justify the displacement of local people.
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.