What does abolition mean for the everyday ways we relate to ourselves, to other humans, to the land, and to the more-than-human world? In this poetic essay, Ki’Amber Thompson wonders how water—and the call to “be like water”—might change the way we think and talk about abolition.
Astrophotography saw Kaitlin Moore through months of COVID-19 lockdown, developing connections among the universe’s most isolated subjects.
A visual history by Daniel Macfarlane digs into the archives to document how Niagara Falls was remade for energy, tourists, and profit.
Geographer Eden Kinkaid provides a tour of an exhibit at the National Agricultural Science Museum in India and discusses how it shapes narratives of development and modernity beyond the museum walls.
A photo essay by Christine Horn from her fieldwork in Sarawak, Borneo, shows how oil palm plantations rearrange and displace communities and landscapes.
In ClearCut – The Wages of Dominion, photographer John Riggs presents a guided meditation about the cultural mindset behind clearcutting.
A poetic meditation on glaciers and glacial worldings in Eyak, Alaska, “Cryogenics” reflects on human and more-than-human kinships at low temperatures.
Artist and neuroscientist Christine Liu shares her zines, Nicotine and The Opium Poppy, that explore the links between plants, drugs, and the brain.
Part of the Water Protectors movement against the Dakota Access Pipeline, the Drone Warriors use drone photography as a form of protest. An exhibit curated by Adrienne Keene and Gregory Hitch spotlights their work.
Steve Rowell’s film Midstream at Twilight uses drone photography to follow the toxic infrastructure of oil pipelines from source to refinery to gift shop.