The paper argues that contradictions may open up opportunities to engage with climate action in a manner that seeks to advance progressive goals, rather than reproduce existing environmental injustices. This argument emerges from a normative concern with finding out "what to do" for climate change. In practice, this question is not about who should do something but who can do something about climate change.

How does our perspective change when we think not only from the sea, but with the sea?

Morton's book is a queasily vertiginous quest to synthesize the still divergent fields of quantum theory (the weirdness of small objects) and relativity (the weirdness of big objects) and insert them into philosophy and art, which he notes are far behind ontologically speaking (page 150). Morton’s wager is that for the first time, we in the Anthropocene are able to see snapshots of hyperobjects, and that these intimations more or less will force us to undergo a radical reboot of our ontological toolkit and (finally) incorporate the weirdness of physics.

Free of the methodological melancholy that so often, and perhaps rightly, can come to inflect this kind of work, Hot Spotter’s Report is an unusual text. It is an utterly unique assessment of the American initiatives to remediate, resignify and manage, conceal and green, the chemical and radiotoxic remainders of cold war military nuclear production – with particular reference to facilities at the Rocky Mountain Arsenal, and Rocky Flats, and the biopolitical management of the work force that supported these sites of production.

In this interview, Emily Brady discusses her book "The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature", the meaning of the the sublime, and its implications for metaphysics, aesthetics, ethics, and the environment.