Climate Realism: The Aesthetics of Weather and Atmosphere in the Anthropocene

Realism: an idiosyncratic origin storyRealism: the observer, the subject, and the material worldRealism: historicity and futurityConcluding thoughts: realism in fluxNotesReferencesSection 1 The climate of representationEcological postures for a climate realismEcological postures for a climate realismPosture 1: a strange stillness (Rachel Carson)Posture 2: psychogenic spasm (Tony Oursler)Posture 3: dancity (Doug Aitken)Posture 4: reflexive carapace (Mary Mattingly)ConclusionReferencesAnthropocene arts: Apocalyptic realism and the post-oil imaginary in the Niger DeltaIntroductionPlayful arts of the everyday: using cultural Idiosyncrasy to transgress the globalOf nondescript lives and landscapes: blood, scar, and resilience in Habila’s Oil on WaterConclusionNotesReferencesFire, water, moon: Supplemental seasons in a time without seasonSection 2 The subject of climateIndigenous realism and climate changeClimate realismsIndigenous perspectives on climate changeIndigenous realism and colonialismReferencesRealism’s phantom subjectsFragility of realismVacant mirror, spectral subjectThe phantom subject reincarnatedPlanetary fort-daNotesReferencesGeologic realism: On the beach of geologic timeThe matter of thoughtInhuman (Earth)/inhuman (race)Planet of the Apes (1968)“The Terminal Beach” (1964)Daughters of the Dust (1991)On the beach of reason and realismNotesReferencesSection 3 Realism and the critique of climate, or climate and the critique of realismThe poetics of geopower: Climate change and the politics of representationGeopowerThe climate of fictionRepresentation/naturalization/dematerializationNotesReferencesPerplexing realities: Practicing relativism in the Anthropocene
Next >