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Inspired by geosciences, Sonic Acts zooms in on planet Earth. Fundamental to 'The Geological Imagination' is the thesis that we live in a new geological epoch, the Anthropocene. Human activity has irreversibly changed the composition of the atmosphere, the oceans, and even the Earth's crust. Humanity has become a geological force. Consequently, the perspective has shifted from the human at the centre of the world to the forces that act on timescales beyond the conceivable. The way we see the world, understand the systems and processes of nature, and our intentions and interactions with the planet are central to this book.
Already in the nineteenth century, German-language writers were contending with the challenge of imagining and accounting for a planet whose volatility bore little resemblance to the images of the Earth then in circulation. The Geological Unconscious traces the withdrawal of the lithosphere as a reliable setting, unobtrusive backdrop, and stable point of reference for literature written well before the current climate breakdown. Through a series of careful readings of romantic, realist, and modernist works by Tieck, Goethe, Stifter, Benjamin, and Brecht, Groves elaborates a geological unconscious—unthought and sometimes actively repressed geological knowledge—in European literature and environmental thought. This inhuman horizon of reading and interpretation offers a new literary history of the Anthropocene in a period before it was named. These close readings show the entanglement of the human and the lithic in periods well before the geological turn of contemporary cultural studies. In those depictions of human-mineral encounters, the minerality of the human and the minerality of the imagination become apparent. In registering libidinal investments in the lithosphere that extend beyond Carboniferous deposits and beyond any carbon imaginary, The Geological Unconscious points toward alternative relations with, and less destructive mobilizations of, the geologic.
Making the Geologic Now announces shifts in cultural sensibilities and practices. It offers early sightings of an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for creative responses to conditions of the present moment. In the spirit of a broadside, this edited collection circulates images and short essays from over 40 artists, designers, architects, scholars, and journalists who are actively exploring and creatively responding to the geologic depth of "now." Contributors' ideas and works are drawn from architecture, design, contemporary philosophy and art. They are offered as test sites for what might become thinkable or possible if humans were to collectively take up the geologic as our instructive co-designer-as a partner in designing thoughts, objects, systems, and experiences. A new cultural sensibility is emerging. As we struggle to understand and meet new material realities of earth and life on earth, it becomes increasingly obvious that the geologic is not just about rocks. We now cohabit with the geologic in unprecedented ways, in teeming assemblages of exchange and interaction among geologic materials and forces and the bio, cosmo, socio, political, legal, economic, strategic, and imaginary. As a reading and viewing experience, Making the Geologic Now is designed to move through culture, sounding an alert from the unfolding edge of the "geologic turn" that is now propagating through contemporary ideas and practices. Contributors include: Matt Baker, Jarrod Beck, Stephen Becker, Brooke Belisle, Jane Bennett, David Benque, Canary Project (Susannah Sayler, Edward Morris), Center for Land Use Interpretation, Brian Davis, Seth Denizen, Anthony Easton, Elizabeth Ellsworth, Valeria Federighi, William L. Fox, David Gersten, Bill Gilbert, Oliver Goodhall, John Gordon, Ilana Halperin, Lisa Hirmer, Rob Holmes, Katie Holten, Jane Hutton, Julia Kagan, Wade Kavanaugh, Oliver Kellhammer, Elizabeth Kolbert, Janike Kampevold Larsen, Jamie Kruse, William Lamson, Tim Maly, Geoff Manaugh, Don McKay, Rachel McRae, Brett Milligan, Christian MilNeil, Laura Moriarity, Stephen Nguyen, Erika Osborne, Trevor Paglen, Anne Reeve, Chris Rose, Victoria Sambunaris, Paul Lloyd Sargent, Antonio Stoppani, Rachel Sussman, Shimpei Takeda, Chris Taylor, Ryan Thompson, Etienne Turpin, Nicola Twilley, Bryan M. Wilson.
Explains why an awareness of Earth's temporal rhythms is critical to planetary survival and offers suggestions for how to create a more time-literate society.
"Pleasure of imagination.... I a geologist have illdefined notion of land covered with ocean, former animals, slow force cracking surface &c truly poetical."--from Charles Darwin's Notebook M, 1838 The early nineteenth century was a golden age for the study of geology. New discoveries in the field were greeted with the same enthusiasm reserved today for advances in the biomedical sciences. In her long-awaited account of Charles Darwin's intellectual development, Sandra Herbert focuses on his geological training, research, and thought, asking both how geology influenced Darwin and how Darwin influenced the science. Elegantly written, extensively illustrated, and informed by the author's prodigious research in Darwin's papers and in the nineteenth-century history of earth sciences, Charles Darwin, Geologist provides a fresh perspective on the life and accomplishments of this exemplary thinker. As Herbert reveals, Darwin's great ambition as a young scientist--one he only partially realized--was to create a "simple" geology based on movements of the earth's crust. (Only one part of his scheme has survived in close to the form in which he imagined it: a theory explaining the structure and distribution of coral reefs.) Darwin collected geological specimens and took extensive notes on geology during all of his travels. His grand adventure as a geologist took place during the circumnavigation of the earth by H.M.S. Beagle (1831-1836)--the same voyage that informed his magnum opus, On the Origin of Species. Upon his return to England it was his geological findings that first excited scientific and public opinion. Geologists, including Darwin's former teachers, proved a receptive audience, the British government sponsored publication of his research, and the general public welcomed his discoveries about the earth's crust. Because of ill health, Darwin's years as a geological traveler ended much too soon: his last major geological fieldwork took place in Wales when he was only thirty-three. However, the experience had been transformative: the methods and hypotheses of Victorian-era geology, Herbert suggests, profoundly shaped Darwin's mind and his scientific methods as he worked toward a full-blown understanding of evolution and natural selection.
At the turn of the nineteenth century, geology—and its claims that the earth had a long and colorful prehuman history—was widely dismissedasdangerous nonsense. But just fifty years later, it was the most celebrated of Victorian sciences. Ralph O’Connor tracks the astonishing growth of geology’s prestige in Britain, exploring how a new geohistory far more alluring than the standard six days of Creation was assembled and sold to the wider Bible-reading public. Shrewd science-writers, O’Connor shows, marketed spectacular visions of past worlds, piquing the public imagination with glimpses of man-eating mammoths, talking dinosaurs, and sea-dragons spawned by Satan himself. These authors—including men of science, women, clergymen, biblical literalists, hack writers, blackmailers, and prophets—borrowed freely from the Bible, modern poetry, and the urban entertainment industry, creating new forms of literature in order to transport their readers into a vanished and alien past. In exploring the use of poetry and spectacle in the promotion of popular science, O’Connor proves that geology’s success owed much to the literary techniques of its authors. An innovative blend of the history of science, literary criticism, book history, and visual culture, The Earth on Show rethinks the relationship between science and literature in the nineteenth century.
No geology is neutral. Tracing the color line of the Anthropocene, this book examines how the grammar of geology is foundational to establishing the extractive economies of subjective life and the earth under colonialism and slavery. The author initiates a transdisciplinary conversation between feminist black theory, geography, and the earth sciences, addressing the politics of the Anthropocene within the context of race, materiality, deep time, and the afterlives of geology.
Rivers wind through earth, cutting down and eroding the soil for millions of years, creating a cavity in the ground 277 miles long, 18 miles wide, and more than a mile deep known as the Grand Canyon. Home to an astonishing variety of plants and animals that have lived and evolved within its walls for millennia, the Grand Canyon is much more than just a hole in the ground. Follow a father and daughter as they make their way through the cavernous wonder, discovering life both present and past. Weave in and out of time as perfectly placed die cuts show you that a fossil today was a creature much long ago, perhaps in a completely different environment. Complete with a spectacular double gatefold, an intricate map and extensive back matter.