In Beyond the World's End T. J. Demos explores cultural practices that provide radical propositions for living in a world beset by environmental and political crises. Rethinking relationships between aesthetics and an expanded political ecology that foregrounds just futurity, Demos examines how contemporary artists are diversely addressing urgent themes, including John Akomfrah's cinematic entanglements of racial capitalism with current environmental threats, the visual politics of climate refugees in work by Forensic Architecture and Teddy Cruz and Fonna Forman, and moving images of Afrofuturist climate justice in projects by Arthur Jafa and Martine Syms. Demos considers video and mixed-media art that responds to resource extraction in works by Angela Melitopoulos, Allora & Calzadilla, and Ursula Biemann, as well as the multispecies ecologies of Terike Haapoja and Public Studio. Throughout Demos contends that contemporary intersections of aesthetics and politics, as exemplified in the Standing Rock #NoDAPL campaign and the Zad's autonomous zone in France, are creating the imaginaries that will be crucial to building a socially just and flourishing future.

Focuses on contemporary art and media to examine the role of visuals in environmental violence and war in Northern Kurdistan.

Extractivism—exploiting the earth for resources—has long driven racial capitalism and colonialism. And yet, how does extractivism operate in a world where ecological and humanitarian sensibilities are unprecedentedly widespread? Eray Çaylı argues it does so by mobilizing these sensibilities in new ways. Extractivism is no longer only about moving the earth—displacing peoples, fossils, minerals, and waters—but also leaving those who witness this violent displacement sentimentally moved.

Earthmoving conceptualizes this duality. Derived from Çaylı’s years-long work in Northern Kurdistan, home to the world’s largest stateless nation—rendered stateless by colonial policies since the nineteenth century—Earthmoving focuses on the 2010s, a decade that began with peace talks between Turkey and the Kurdish liberation movement but ended with war. The decade saw extractivism intensify in the region and images of its harm proliferate across art and media. Together with contemporary artists, Çaylı shows that images challenge extractivism both by making its harm visible and by fostering self-reflexive and reciprocal collaboration that breaks with its valuation of the colonized and the racialized only in quantifiable and marketable terms.

For centuries, humans have excelled at mimicking nature in order to exploit it. Now, with the existential threat of global climate change on the horizon, the ever-provocative Michael Taussig asks what function a newly invigorated mimetic faculty might exert along with such change. Mastery of Non-Mastery in the Age of Meltdown is not solely a reflection on our condition but also a theoretical effort to reckon with the impulses that have fed our relentless ambition for dominance over nature.
 
Taussig seeks to move us away from the manipulation of nature and reorient us to different metaphors and sources of inspiration to develop a new ethical stance toward the world. His ultimate goal is to undo his readers’ sense of control and engender what he calls “mastery of non-mastery.” This unique book developed out of Taussig’s work with peasant agriculture and his artistic practice, which brings performance art together with aspects of ritual. Through immersive meditations on Walter Benjamin, D. H. Lawrence, Emerson, Bataille, and Proust, Taussig grapples with the possibility of collapse and with the responsibility we bear for it.

Tracing the convergence of ecology and engineering over the last three decades, this book pinpoints a new environmental paradigm that the author calls Nature Remade.

Allison Carruth’s Novel Ecologies shows how the tech industry has taken up the wilderness mythologies that shaped one strain of American environmentalism over the last century. Calling this twenty-first-century environmental imagination Nature Remade, Carruth describes a distinctly West Coast framework that is at once nostalgic and futuristic. Through three case studies (synthetic wildlife, the digital cloud, and space colonization), the book shows Nature Remade to be a quasi-religious belief in venture capitalism and big tech. This paradigm thus imagines a future in which species, ecosystems, and entire planets are re-generated and re-created through engineering.

Novel Ecologies challenges the conviction that climate change and other environmental crises must be met with ever larger-scale forms of technological intervention. Against the new worlds conjured by Google, Meta, Open AI, Amazon, SpaceX, and a host of lesser-known start-ups, Carruth marshals writers and artists who imagine provisionally hopeful environmental futures while refusing to forget the histories that have made the world what it is. On this track of the book, Carruth discusses the works of Octavia Butler, Becky Chambers, Jennifer Egan, Ruth Ozeki, Craig Santos Perez, Tracy K. Smith, Jeff VanderMeer, Saya Woolfalk, and many more. Their novels, poems, installation artworks, and expressive media offer a speculative world built on livable communities rather than engineered lifeforms.

O’Rourke argues that artistic representations played a pivotal role in shaping how people thought about the natural world during the Industrial Revolution.
 
In the late eighteenth and early nineteenth centuries, European artists confronted the emergence of a new way of thinking about and treating the Earth and its resources. Centered on extraction, this new paradigm was characterized by large-scale efforts to transform and monetize the physical environment across the globe. With this book, Stephanie O’Rourke considers such practices, looking at what was at stake in visual representations of the natural world during the first decades of Europe’s industrial revolutions.
 
O’Rourke argues that key developments in the European landscape painting tradition were profoundly shaped by industries including mining and timber harvesting, as well as by interlinked ideas about race, climate, and waste. Focusing on developments in Britain, France, Germany, and across Europe’s colonial networks, she explores how artworks and technical illustrations portrayed landscapes in ways that promoted—or pushed against—the logic of resource extraction.
 

Today, most colonial-era modernist mass housing is seen as fundamentally broken: crumbling concrete spaces of social alienation and containment that fractured societies both then and now. In Poetics of Repair, Katarzyna Pieprzak examines how contemporary visual, literary, and performance art of the Maghreb has the potential to change the terms, histories, and imagined futures of mass housing in North Africa and France. Pieprzak dives deeply into contemporary art engagements with three mass housing sites that epitomize the French colonial geography of modernist architecture in the Maghreb. She identifies in this art what she names a transformative “poetics of repair”: a practice that conjoins, puts in relation, or simply brings closer together broken materials, separated people, and severed timelines. Reading art and its engagements with mass housing, Pieprzak argues, has the potential to unmoor established knowledge and rehearse the tensions and productive ambiguities inherent to practices of constitution and revision. She demonstrates that such a reading practice is a step toward a reparative epistemology for mass housing that turns sites of wreckage and alienation into sites of possible solidarities and new formulations of history and experience.

In Terracene Salar Mameni historicizes the popularization of the scientific notion of the Anthropocene alongside the emergence of the global war on terror. Mameni theorizes the Terracene as an epoch marked by a convergence of racialized militarism and environmental destruction. Both the Anthropocene and the war on terror centered the antagonist figures of the Anthropos and the terrorist as responsible for epochal changes in the new geological and geopolitical world orders. In response, Mameni shows how the Terracene requires radically new engagements with terra (the earth), whose intelligence resides in matters such as oil and phenomena like earthquakes and fires. Drawing on the work of artists whose practices interrogate histories of settler-colonial and imperial interests in land and resources in Iran, Iraq, Yemen, Kuwait, Syria, Palestine, and other regions most affected by the war on terror, Mameni offers speculative paths into the aesthetics of the Terracene.