What does it mean to live in a city already deemed “unsavable” and why is the contemporary art made in Miami that deals directly with climate change often so innocuous?

What insights can artistic research data produce in the scientific analysis of the natural archive? Xandra van der Eijk addresses the value of artmaking with, through, and between the materiality of place in the sediment samples of Sydney Harbour.

The artist Julian Charrière artificially remodels a biogeochemical cycle and casts it into a performance of reverse extraction: carbon molecules are captured from the air and turned into diamonds which are then “wastefully” cast into a glacier.

Artists Nina Canell and Robin Watkins recover the deep-time aquatic past of the limestone environment that formed the island of Gotland and delineate the temporal entanglements between ancient life creation and modern-day living.

Plastic represents a particularly alluring material legacy in the rock record—but as Andrea Westermann shows, for its health and environmental hazards, consumerism and the exploitation of migrant labor, plastic is a deeply troubling material.

How do tropes and images of a changing ocean operate in a larger system of cultural sensemaking? Killian Quigley collects a range of threads to map the disfiguration and deformation of an anthropocenic biosphere that swells below the sea’s surface.

The following essay and mapping exercise on whales reflects on the natural-cultural history of these creatures whose non-human bodies allow for thinking across different aesthetic and epistemic registers.

In this screening and artist talk, Ila Bêka and Louise Lemoine discuss their film Homo Urbanus Venetianus,a vibrant tribute to public space.

Whatever moment the river might invite us to, it is a thick moment, a moment in motion. Audio piece and notes to the listener.

A contemplation on time and space by Claire Pentecost.

What does aesthetic regionalism disclose about local effects of the Anthropocene?

What does it mean to be “riverine”? A collage by artist, writer, and activist Shanai Matteson

A project output by Postnatural Landscapes Project with an animation.

Through a series of conversations Temporary continent. track the different guises the Mississippi has taken, interviewing those who live and work with the river.

The Mississippi’s touristically designated “source” remains a fixture on maps of North American territory and collective cultural consciousness, as this text, video, and audio post explores.

There is no one correct way to listen to the river; there are multiple listenings, and multiple rivers.

An animated guide to life in the Mississippi mud.

A chromatic record of the intimate relationship between the Mississippi River and its surrounding soils.

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In the context of the seminar “Anthropocene and the Media,” students of new media theorist John Kim have developed diverse approaches and perspectives of examining the Mississippi River in relation to the Anthropocene.

This project identifies rivers as crucial for investigating representations of the Anthropocene, via the medium of experimental documentary film.

What modes of collecting, representing, and knowing are appropriate to meet the conceptual and practical challenges of the Anthropocene? Which narrative forms and styles can help us to document states of flux and transformation, across multiple scales of space and time?

Waves form the focus of Andrea Carlson’s Traveler Project, which brings together the world of fluid dynamics with the Ojibwe language to create new artworks.

Temporary continent. maps the unstable tributaries of contributions and reflections arising from the research procession down the river.

On dams, micro worlds and the end of humanity—four short films inspired by the Headwaters field station.

Does the river provide a structure for knowledge in the Anthropocene? The Twin Cities artist in residence dives in to find out.

The stretch of the Mississippi between Minnesota, Wisconsin and Iowa is marked both by its “natural” and “anthropogenic” origin.

Using artistic underwater recordings, Listening to the Mississippi asks listeners to experience the river through sound.

Artist Patricia Piccinini and synthetic biologist Claudia Vickers discuss novel forms of life and science’s role in shaping conceptions and imaginations of the world.

How can we perceive the Anthropocene? A contemplation on the ACM’s explorations through the lens of “atmospheric attunements.”

How did nineteenth century recipes describing practices of natural dyeing in India come to constitute technologies for green production for the future?

How we can collectively hack the Anthropocene to co-create the Aerocene? A report on the Aerocene Campus 2016.

What does it mean to become aerosolar? Field notes from Berlin

The mining compound at Deqingcun acts as a surrogate for the Chinese-Tibetan conflict. This exploited landscape provides the pattern for a hand-knotted rug by artist Eva Castringius.

With a critical eye to what aesthetics in/of/through the Anthropocene might mean, we will engage with ways that established forms of perceiving might be transformed in the broadest sense—toward new sensitivities of the long now, and the emergent technosphere that conditions our understanding of it.

In order to rearrange our mental landscapes, we must learn not to pull on one end of the thread, but to engage the knot as a whole. Instructions for a complex relationship role-play.

Hurry, there are limited seats! Exploring social stratification and the limits of cooperation with the help of peanuts and musical chairs.

Given the importance of the “start” for the entire Anthropocene narrative, we should consider an aesthetic approach to the question.

A poetic reflection on co-evolutions towards the Holocene Museum.

Petroleum is a dark, thick distillation of mosses, bones, bodies, and beings condensed over time together. What was it anticipating? Did it expect to be discovered and extracted in such a relative instant?

If you need to close your eyes, you may. If you need to leave the room, you may. If you have to leave the exercise, you may. An Exercise in not doing doing.

How can we decolonize the disembodied truth-claims of picture making? Instructions for analyzing images using five senses and more.

When I close my eyes, I do not feel gravity, and hence I am in the world without gravity. If I am in the world without gravity, what I am doing must be floating. One basis for the new ethics in the Anthropocene.

Tracing shadows—an examination of technological datasets and Romantic concepts in the study area of Berlin-Moabit.

A conversation between Caroline Picard and Jenni Nurmenniemi on how the Helsinki International Artist Programm creates a space for complexity.

On turning your ear into a transducer and living in the clouds. A talk with composer Samuel Hertz about porous bodies.

A look into the history of the globalization of knowledge.

This micro-publication looks at the city of Chicago as a site of origin for materials, particles, and social relations that define the new geological epoch of the Anthropocene.

A case study on field recordings of the “absence” of a large section of trees that had recently been removed from the site and installed in the Neue Nationalgalerie in Berlin, as part of the gallery’s current exhibition

The Anthropocene remains peculiarly flat and colorless when it comes to concrete images, which are lacking cultural nuance and historical depth. New imaginaries and imaginations are needed to engage with alternative futures of infrastructure and anthropogenically altered landscapes.

What images do we get if we try to go beyond aiming to depict the Anthropocene as a general phenomenon? How can we and our everyday practice be visualized?

The Patagonian fences as political actors of division, limitation, control and order

Why do botanical collections and collecting spaces come from, and how have they played (an ever changing) part in shaping the world and our shifting understandings of it?