"Weird and Wonderful: The First Objects of the National Historical Collection"
Libby Robin discusses the implication of Sir Colin MacKenzie’s initiative to collect Australian marsupials.
Libby Robin discusses the implication of Sir Colin MacKenzie’s initiative to collect Australian marsupials.
The author seeks to bring together environmental anthropology and history to frame the place of forests in humans’ lives, from a political ecology point of view. He does this by reflecting on his personal experiences in Northeast India, Kenya, and Sweden.
This collection of essays maps the heterogeneous and asymmetrical ecologies within which we are enmeshed, a material world that makes the human possible but also offers difficulties and resistance.
Bradley M. Jones explores the cultivation of life in ruins, through a multi-species ecological ethic revealed in the life and labor of a permaculture farmer in the Appalachian foothills.
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.
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.
Triangulating narratives from a prospective mining site in northern Norway, Hugo Reinert works to identify (and render graspable) a particular effect of retroactive shock—tracing its resonance through experiences of chemical exposure, colonial racism, cultural erasure, and destruction of the built environment.
This collection of studies provides valuable historical contexts for making sense of contemporary environmental challenges facing Latin America.
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.