Down to Earth: Politics in the New Climatic Regime by Bruno Latour

2020 ◽  
Vol 93 (2) ◽  
pp. 243-247
Author(s):  
Thomas Hylland Eriksen
Keyword(s):  
2019 ◽  
Vol 36 (7-8) ◽  
pp. 215-230 ◽  
Author(s):  
Jakob Valentin Stein Pedersen ◽  
Bruno Latour ◽  
Nikolaj Schultz

Including empirical examples and theoretical clarifications on many of the analytical issues raised in his recently published Down to Earth (2018), this conversation with Bruno Latour and his collaborator, Danish sociologist Nikolaj Schultz, offers key insights into Latour’s recent and ongoing work. Revolving around questions on political ecology and social theory in our ‘New Climatic Regime’, Latour argues that in order to have politics you need a land and you need a people. This interview present reflections on such politics, such land and such people, and it ends with a call for a sociology that takes up the task of connecting the three by investigating what he and Schultz call ‘geo-social classes’. The interview was conducted by Jakob Stein in Paris in November 2018.


2020 ◽  
Vol 15 (3) ◽  
Author(s):  
Oliver Kauffmann

In Down to Earth: Politics in the New Climatic Regime (2018), Bruno Latour argues that any effort to sustain life in the critical zone of our planet must leave behind the modern epistemologies, which reify and partition nature and science. In order to clear the ground for a proper descriptive stance, he dismisses ‘the view from nowhere’ and corresponding epistemic notions such as ‘Galileism’. I demonstrate why Latour’s fight against ‘the view from nowhere’ is misguided and wrong in the details. At best, his critique is largely irrelevant for the constructive use of science and education in ‘the climate war’.


2017 ◽  
Vol 35 (1) ◽  
pp. 111-129 ◽  
Author(s):  
Melanie Kloetzel

In recent years, arts festivals around the globe have become enamoured of touring, site-based performance. Such serialised site work is growing in popularity due to its accessibility, its spectacular characteristics, and its adaptive qualities. Employing practice-as-research methodologies to dissect the basis of such site-adaptive performances, the author highlights her discovery of the crumbling foundation of the adaptation discourse by way of her creative process for the performance work Room. Combining findings from the phenomenological explorations of her dancing body as well as from cultural analyses of the climate change debate by Dipesh Chakrabarty (2009), Claire Colebrook (2011, 2012), and Bruno Latour (2014), the author argues that only by fundamentally shifting the direction of the adaptation discourse – on scales from global to the personal – will we be able to build a site-adaptive performance strategy that resists the neoliberal drive towards ecological and economic precarity.


2021 ◽  
Vol 51 (1) ◽  
pp. 139-164
Author(s):  
Jakob Raffn ◽  
Frederik Lassen

Here we introduce the board game Politics of Nature, or PoN as it is now known. Inspired by the work of Bruno Latour, PoN offers an alternative take on co-existence by implementing a flat political ontology in a gamified meeting protocol. PoN does not suggest that humans have no special abilities, only that humans at the outset, are bestowed with no more rights than other kinds of beings. Designed to enable people of all walks of life to playfully unpack and resolve controversies, PoN provides a space where beings can have their existence renegotiated. The aim of PoN is to play as a team to explore and decide on potential good common worlds in which more indispensable beings can exist than if the status quo is continued. By playing PoN iteratively through rounds, each having four stages, the players gradually construct PoN - a planet mirroring ‘real worlds’. The four stages provide a novel combination of identification, representation, meditation, prioritization, mapping, individual and group ideation, proposal formulation, and decision-making; only to ask the players to challenge and change PoN to fit their requirements after each round. What follows is taken directly from the manual.


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