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An Artforum Best Book of the Year A Legal Theory Bookworm Book of the Year Nature no longer exists apart from humanity. Henceforth, the world we will inhabit is the one we have made. Geologists have called this new planetary epoch the Anthropocene, the Age of Humans. The geological strata we are now creating record industrial emissions, industrial-scale crop pollens, and the disappearance of species driven to extinction. Climate change is planetary engineering without design. These facts of the Anthropocene are scientific, but its shape and meaning are questions for politics—a politics that does not yet exist. After Nature develops a politics for this post-natural world. “After Nature argues that we will deserve the future only because it will be the one we made. We will live, or die, by our mistakes.” —Christine Smallwood, Harper’s “Dazzling...Purdy hopes that climate change might spur yet another change in how we think about the natural world, but he insists that such a shift will be inescapably political... For a relatively slim volume, this book distills an incredible amount of scholarship—about Americans’ changing attitudes toward the natural world, and about how those attitudes might change in the future.” —Ross Andersen, The Atlantic
After Nature, W. G. Sebald’s first literary work, now translated into English by Michael Hamburger, explores the lives of three men connected by their restless questioning of humankind’s place in the natural world. From the efforts of each, “an order arises, in places beautiful and comforting, though more cruel, too, than the previous state of ignorance.” The first figure is the great German Re-naissance painter Matthias Grünewald. The second is the Enlightenment botanist-explorer Georg Steller, who accompanied Bering to the Arctic. The third is the author himself, who describes his wanderings among landscapes scarred by the wrecked certainties of previous ages. After Nature introduces many of the themes that W. G. Sebald explored in his subsequent books. A haunting vision of the waxing and waning tides of birth and devastation that lie behind and before us, it confirms the author’s position as one of the most profound and original writers of our time.
After Nature is a timely account of fundamental constructs in English kinship at a moment when advances in reproductive technologies are raising questions about the natural basis of kinship relations.
In this groundbreaking book, Katrina Schwartz examines the intersection of environmental politics, globalization, and national identity in a small East European country: modern-day Latvia. Based on extensive ethnographic research and lively discourse analysis, it explores that country's post-Soviet responses to European assistance and political pressure in nature management, biodiversity conservation, and rural development. These responses were shaped by hotly contested notions of national identity articulated as contrasting visions of the "ideal" rural landscape.The players in this story include Latvian farmers and other traditional rural dwellers, environmental advocates, and professionals with divided attitudes toward new European approaches to sustainable development. An entrenched set of forestry and land management practices, with roots in the Soviet and pre-Soviet eras, confront growing international pressures on a small country to conform to current (Western) notions of environmental responsibility—notions often perceived by Latvians to be at odds with local interests. While the case is that of Latvia, the dynamics Schwartz explores have wide applicability and speak powerfully to broader theoretical discussions about sustainable development, social constructions of nature, the sources of nationalism, and the impacts of globalization and regional integration on the traditional nation-state.
Drawn after nature presents a vivid and complete picture of a unique historical collection of botanical watercolours. Botanists, art lovers, historians as well as the general public will enjoy this publication of the watercolours, their annotations and their history, but above all their supreme beauty and display of craftsmanship. For over 300 years, the Preußische Staatsbibliothek in Berlin held a most remarkable collection of botanical watercolours. They were catalogued as part of the library’s illustrated manuscripts, or Libri Picturati. These magnificent works of art, rich in colour and detail, were made in the second half of the 16th century in the southern part of the Low Countries. In the 1970s the complete set of watercolours had been rediscovered and sparked the interest of historians, art historians and botanists alike. Together they set out to unravel the many secrets still held by the Libri Picturati’s watercolours: who had collected them, and why? A team of pre-eminent European scientists worked together on these and other intriguing questions surrounding the collection. They unveiled the important role played by the famous Dutch botanist Carolus Clusius, who later founded the University of Leiden’s Botanical Gardens. Drawn after nature contains accessible and informative chapters on the collection’s history, but most importantly: it brings together all of the original 1429 watercolours and sketches, for the first time in one volume, accompanied by their original annotations.
A provocative argument that environmental thinking would be better off if it dropped the concept of “nature” altogether and spoke instead of the built environment. Environmentalism, in theory and practice, is concerned with protecting nature. But if we have now reached “the end of nature,” as Bill McKibben and other environmental thinkers have declared, what is there left to protect? In Thinking like a Mall, Steven Vogel argues that environmental thinking would be better off if it dropped the concept of “nature” altogether and spoke instead of the “environment”—that is, the world that actually surrounds us, which is always a built world, the only one that we inhabit. We need to think not so much like a mountain (as Aldo Leopold urged) as like a mall. Shopping malls, too, are part of the environment and deserve as much serious consideration from environmental thinkers as do mountains. Vogel argues provocatively that environmental philosophy, in its ethics, should no longer draw a distinction between the natural and the artificial and, in its politics, should abandon the idea that something beyond human practices (such as “nature”) can serve as a standard determining what those practices ought to be. The appeal to nature distinct from the built environment, he contends, may be not merely unhelpful to environmental thinking but in itself harmful to that thinking. The question for environmental philosophy is not “how can we save nature?” but rather “what environment should we inhabit, and what practices should we engage in to help build it?”
A lucid and crucial account of Schelling's major works in the philosophy of nature, now available in paperback.
Published to accompany the acclaimed summer 2008 After Nature exhibition at New York's New Museum, this unique catalogue pays tribute to the work of W.G. Sebald by repurposing existing copies of his 1988 three-part prose poem, from which the show borrowed its title. Called an arresting gesture by The New Yorker's Peter Schjeldahl, the catalogue consists of the original book, enriched with images that have been hand-placed between the pages, and a new fold-out dust jacket. The result is a singular hybrid that is part appropriation, part recycled material--informed by the artistic tradition of the found object. Conceived as an homage, the catalogue features an essay by the New Museum's Massimiliano Gioni, a complete checklist and 25 color images by each of the featured artists, who include Pawel Althamer, Huma Bhabha, Maurizio Cattelan, William Christenberry, Nathalie Djurberg, Werner Herzog, Zoe Leonard, Klara Liden, Dana Schutz and Tino Sehgal, among others.
This book presents a radical new picture of natural order. The Newtonian idea of a cosmos ruled by universal and exceptionless laws has been superseded; replaced by a conception of nature as a realm of diverse powers, potencies, and dispositions, a 'dappled world'. There is order in nature, but it is more local, diverse, piecemeal, open, and emergent than Newton imagined. In each chapter expert authors expound the historical context of the idea of laws of nature, and explore the diverse sorts of order actually presupposed by work in physics, biology, and the social sciences. They consider how human freedom might be understood, and explore how Newton's idea of a 'universal designer' might be revised, in this new context. They argue that there is not one unified totalizing program of science, aiming at the completion of one closed causal system. We live in an ordered universe, but we need to rethink the classical idea of the 'laws of nature' in a more dynamic and creatively diverse way.