It has taken some time to get permissions for images of art works referred to in this paper. Meanwhile, here is an extract of the Abstract from:
Three Climate Presents:
Affect and Becoming-Inhuman in Aesthetic Atmospheres of Rage-Love, Biocuriosity, and Breath.
In this paper, I gather an idiosyncratic ecology of affect-entangled aesthetics to think with the provocation: ‘Art does not need science and philosophy to function’. British painter Maggi Hambling’s intimate portrait of a collapsing pancake iceberg (Edge IV, 2015-6) calls out across the northern cryosphere to the twelve Greenland ice trophies harvested, towed and stranded on Parisian cobblestones in Olafur Eliasson and Minik Rosing’s melt spectacle, Ice Watch Paris (2015). Across the equator on austral grounds, Perdita Phillips’ experimental ecoaesthetic practice gnaws away at the exchange boundaries of human and nonhuman creativity. Her co-poietic work with termites, Tender Leavings (2016), moves notions of becoming-other to a generative, agential aesthetics of becoming-inhuman on a runaway-warming planet; one rich still—even as contemporary bleachings, silencings and immiserations accelerate and bewilder—with multispecific wonders and unforeseen powers. Victoria Hunt’s performative voice-breath lure and lament of controlled rage and postcolonial challenge, Erasure (2016), is a potent reminder that Earthbound and situated bodies, paused in somewheres, simultaneously imbibe and biologically incorporate themselves in the everywhere, borderless energies of planetary atmosphere.
Affect, Capital, and Aesthetics: Critical Climate Change and Art History