Scientific evidence suggests that rising levels of anthropogenic underwater sound (“ocean noise”) produced by industrial activities are causing a range of injuries to marine animals—in particular, whales. These developments have forced states and development proponents into acknowledging ocean noise as a threat to marine economic activity. This paper delivers a Gramsci‐inspired critique of the modernizations of ocean noise regulation being wrought by science, state and politics. Gramsci was acutely interested in the dynamic and social nature of scientific research, and his writings affirm science's powers and ambitions. At the same time, he was keen to observe how science participates in the process he called hegemony. Using examples drawn from Canada's West Coast, I suggest that capital is engaging ocean noise not only as a regulatory problem issuing from legal duties and legitimacy concerns, but opportunities linked to the commercialization of ocean science.
Forests are increasingly central to policies and initiatives to address global environmental change. Digital technologies have become crucial components of these projects as the tools and systems that would monitor and manage forests for storing carbon, preserving biodiversity, and providing ecosystem services. Historically, technologies have been instrumental in forming forests as spaces of conservation, extraction, and inhabitation. Digital technologies build on previous techniques of forest management, which have been shaped by colonial governance, expert science, and economic growth. However, digital technologies for achieving environmental initiatives can also extend, transform, and disrupt these sedimented practices. This article asks how the convergence of forests and digital technologies gives rise to different socio-technical formations and modalities of “political forests.” Through an analysis of five digital operations, including 1) observation, 2) datafication, 3) participation, 4) automation, and 5) regulation and transformation, we investigate how the co-constitution of forests, technologies, subjects, and social life creates distinct materializations of politics–and cosmopolitics. By building on and expanding the concept of cosmopolitics, we query how the political is designated through digital forest projects and how it might be reworked to generate less extractive environmental practices and relations while contributing to more just and pluralistic forest worlds.
This paper is about the “Anthropocene Festival,” a concept we develop to explore proliferating and multi-faceted arts-based events, happenings, unconferences, and workshops which collectively model novel forms of environmental governance. The Anthropocene Festival mobilizes disruptive and creative possibilities at the juncture of digital and ecological life, while simultaneously embodying developments in the institutional form of green capitalism. To argue these points, we locate the Anthropocene Festival within a proliferation of new institutional environmentalisms, including biennales, hackathons, and initiatives in the neoliberal university. Next, we provide a survey of recent examples, observing across them an increasingly hegemonic template of environmental sociality—or model of collective interaction—rooted in digital technologies. Next, we discuss two examples of environmental governance propositions expressive of the Anthropocene Festival ethos: (1) Climate Symphony, a project that uses sonification techniques to facilitate new understandings of climate change, (2) Terra0, an art project which reconceptualizes forest ecology and non-human agency using blockchain technology. We conclude by arguing that the ontological generativity of the Anthropocene Festival arises from the dissenting approaches to conventional models of environmental governance it cultivates, but that the Anthropocene Festival does not necessarily carry a radical political valence because of this.
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