Katherine Gregory explores how Cauleen Smith’s short film REMOTE VIEWING (2011) excavates buried histories of racial violence and challenges audiences to rethink who has the right to shape the land.
Bethany Wiggin speaks with Nathaniel Otjen and Juan Rubio on the significance of public-facing environmental humanities via their podcast MINING FOR THE CLIMATE. They discuss the local experiences of lithium mining, the value of narrative, community-driven work in an academic setting, and the futures they envision for the university as a whole.
Using the case of Claremont Road, Savannah Pearson speculates why tunneling activism is a popular form of protest in England historically used to fit against government harm to environmental and human systems.
In this first-of-its-kind special episode, environmental humanities authors Sarah Dimick, Lisa Han, and Ben Stanley discuss their newly published books, connections between their disparate topics, and the importance of nuance in environmental justice.
Kate Judith shares a creative and speculative story through the vertiginous voices of the cuckoo and currawong, which underscore the tension between parasitism and care. The currawong’s caregiving is marked by both sacrifice and survival, while the cuckoo’s actions highlight a demolishing invasive behavior. This form reflects the complex, often painful exchanges that define interspecies interactions.
Prerna Rana speaks with Sarah Robert and Jennifer Gaddis about their new book, Transforming School Food Politics Around the World. They discuss school food programs’ catalytic potential in the betterment of global health, agriculture, and care.
Jac Common & Katy Lewis Hood trace marine aggregates dredging in UK coastal waters across multiple scales, arguing that this extractive industry needs to be situated in colonial and capitalist ocean histories and presents.
CHE Director Will Brockliss sits down with documentary filmmaker Jeff Spitz to reflect on the twenty fifth anniversary of his film THE RETURN OF NAVAJO BOY. Their conversation spans partnering with the Navajo Nation, ethical filmmaking, and the significance this film had not only on uranium cleanup in Monument Valley, Utah, but on one family who lives there.
Edge Effects asks scholars to recommend creative works that explore aesthetic resistance to environmental precarity, or celebrate cultural traditions uplifting alternative ecological narratives and knowledge centered in care, kinship, and storytelling.
Laleh Ahmad argues that the solarpunk genre offers imaginable, realistic green futures based on renewable energy and communal self-reliance, rooted in justice and care.
