Justifiable Fears and Sensible Hopes: Living with an Uncertain Future and an Unreliable Natural EnvironmentĬhapter 19: The Breathing Land: On Questions of Climate Change and Settler ColonialismĬhapter 20: Sensing Particulate Matter and Practicing Environmental JusticeĬitizen Sensing and Perceptual TransformationsĬonclusion: Practicing Environmental JusticeĬhapter 21: Visualizing Atmospheric PoliticsĬhapter 22: Atmospheres and the Anthropogenic Image-BindĬontesting the Image-Bind 1: Earth PracticesĬontesting the Image-Bind 2: Machinic VisionsĬontesting the Image-Bind 3: Giving StandingĬonclusion: Binding to the More-Than-HumanĬhapter 23: Ways of Saying: Rhetorical Strategies of Environmentalist ImagingĬhapter 24: Sublime Aesthetics in the Era of Climate Crisis?: A CritiqueĪrtistic Imagination and the Hopes Placed on Art by MuseumsĪrtistic Expeditions to Climate Hot Spots Indigenous Visual Culture: Inter- and Intragenerational Dialogues of Material ConsequenceĬhapter 18: At Memory's Edge: Climate Trauma in the Arctic through FilmĬhanging Indigenous Physical and Psychological Realities of the Arctic: Attutauniujuk Nunami / Lament for the Land (2013), by Ashlee Cunsolo Willox and the Communities of Nunatsiavutĭystopian Futures and the Reconstruction of Memory: Kimi Takesue’s That Which Once Was (2011) Virtual Metaphors for Being Relationally Present: Lisa Jackson’s VR Biidaaban: First Lightĭisrupting Climate Discourse in Thalu: Dreamtime is Now The Peacemaker Returns : Projecting the Great Law of Peace Beyond the Boundaries of Space-Timeĭanika Medak-Saltzman (Turtle Mountain Chippewa) Nicholas Galanin’s Multimedia as Cultural Continuum for Climate Change Survivance Is a Resistant Popular Art Possible in a Context of War?Ĭhapter 10: Waste You Can’t Deny: A Slow Trans-aesthetic in The Blue Barrel GroveĪgainst Nifāyāt : Groundworks for a Slow Trans-aestheticĬhapter 11: The Perpetual Present, Past, and Future: Slow Violence and Chinese Frameworks of In/Visibility and Time in Zhao Liang’s BehemothĬhapter 12: Remembering the Land: Art, Direct Action, and the Denial of Extractive Realities on BougainvilleĬontemporary Sovereignty and the Question of the MineĬhapter 13: Multispecies Cinema in Wretched Waters: The Slow Violence of the Rio Doce DisasterĬhapter 14: Staying with the Troubling, Performing in the ImpasseĬonclusion: Of Contingency and ConspiracyĬhapter 15: A Conversation between Three EcosexualsĬhapter 16: Climate Justice, Satire, and Hothouse EarthĬhapter 17: Indigenous Media: Dialogic Resistance to Climate Disruption Making Communities in the Interregnum and The Chemical Valley ProjectĬhapter 6: Road to Injustice: Ecological Impunity and Resistance in West PapuaĬhapter 7: Into the Heart of the Occupied ForestĬhapter 8: The Coming War and the Impossible Art: Zapatista Creativity in a Context of Environmental Destruction and Internal Warfare Petrolia and the Long Catastrophe of Lambton CountyĮxtractivism and Atmospheric Disaster in BAD STARS Indian Givers and Things to Know About Chemical Valley The Energy Impasse and Climate Change as Markers of the Interregnum
The Making of a National Developmental Imaginaryįrom the Developmentalist to the Destruction SublimeĬhapter 4: Describing the Indescribable: Art and the Climate Crisis 1Ĭhapter 5: Art of the Interregnum in Canada’s Chemical Valley Chapter 1: Extracting the Cost: Re-membering the Discarded in African LandscapesĬhapter 2: In the Frontiers of Amazonia: A Brief Political Archaeology of Global Climate EmergencyĬhapter 3: From Tuíra to the Amazon fires: The Imagery and Imaginary of Extractivism in Brazil
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