In Breathing Aesthetics Jean-Thomas Tremblay argues that difficult breathing indexes the uneven distribution of risk in a contemporary era marked by the increasing contamination, weaponization, and monetization of air. Tremblay shows how biopolitical and necropolitical forces tied to the continuation of extractive capitalism, imperialism, and structural racism are embodied and experienced through respiration. They identify responses to the crisis in breathing in aesthetic practices ranging from the film work of Cuban American artist Ana Mendieta to the disability diaries of Bob Flanagan, to the Black queer speculative fiction of Renee Gladman. In readings of these and other minoritarian works of experimental film, endurance performance, ecopoetics, and cinema-vérité, Tremblay contends that articulations of survival now depend on the management and dispersal of respiratory hazards. In so doing, they reveal how an aesthetic attention to breathing generates historically, culturally, and environmentally situated tactics and strategies for living under precarity.

An account of nineteenth-century music in Atlantic worlds told through the history of the art’s elemental medium, the air.

Often experienced as universal and incorporeal, music seems an innocent art form. The air, the very medium by which music constitutes itself, shares with music a claim to invisibility. In Creatures of the Air, J. Q. Davies interrogates these claims, tracing the history of music’s elemental media system in nineteenth-century Atlantic worlds. He posits that air is a poetic domain, and music is an art of that domain.

From West Central African ngombi harps to the European J. S. Bach revival, music expressed elemental truths in the nineteenth century. Creatures of the Air tells these truths through stories about suffocation and breathing, architecture and environmental design, climate strife, and racial turmoil. Contributing to elemental media studies, the energy humanities, and colonial histories, Davies shows how music, no longer just an innocent luxury, is implicated in the struggle for control over air as a precious natural resource. What emerges is a complex political ecology of the global nineteenth century and beyond.

It is rare indeed for one book to be both a first-rate classroom text and a major contribution to scholarship. The Pathway for Oxygen is such a book, offering a new approach to respiratory physiology and morphology that quantitatively links the two. Professionalism in science has led to a compartmentalization of biology. Function is the domain of the physiologist, structure that of the morphologist, and they often operate with vastly disparate concepts and procedures. Yet the performance of the respiratory system depends both on structural and on functional properties that cannot be separated.

The first chapter of The Pathway for Oxygen engages the student with the design and function of the vertebrate respiratory organs from a comparative viewpoint. The second chapter adds to that foundation the link between cell energetics and oxygen needs of the whole animal. With Chapter 3 the excitement begins—new ideas, fresh attacks on old problems, and a fuller account of the power of the quantitative approach Dr. Ewald Weibel has pioneered.

The Pathway for Oxygen will be read eagerly by medical students, graduate students, advanced undergraduates in zoology—and by their professors.