How extreme-right antidemocratic governments around the world are prioritizing profits over citizens, stoking catastrophic wildfires, and accelerating global climate change. Recent years have seen out-of-control wildfires rage across remote Brazilian rainforests, densely populated California coastlines, and major cities in Australia. What connects these separate events is more than immediate devastation and human loss of life. In Global Burning, Eve Darian-Smith contends that using fire as a symbolic and literal thread connecting different places around the world allows us to better understand the parallel, and related, trends of the growth of authoritarian politics and climate crises and their interconnected global consequences. Darian-Smith looks deeply into each of these three cases of catastrophic wildfires and finds key similarities in all of them. As political leaders and big business work together in the pursuit of profits and power, anti-environmentalism has become an essential political tool enabling the rise of extreme right governments and energizing their populist supporters. These are the governments that deny climate science, reject environmental protection laws, and foster exclusionary worldviews that exacerbate climate injustice. The fires in Australia, Brazil and the United States demand acknowledgment of the global systems of inequality that undergird them, connecting the political erosion of liberal democracy with the corrosion of the environment. Darian-Smith argues that these wildfires are closely linked through capitalism, colonialism, industrialization, and resource extraction. In thinking through wildfires as environmental and political phenomenon, Global Burning challenges readers to confront the interlocking powers that are ensuring our future ecological collapse.

It's the year 2045 and global warming has turned the world into a fireball. Nothing can survive outside and the last humans are confined to the underground. Recently, scientists have discovered the temperature has been rising at a much faster rate and in one month, the shields that protect the underground oxygen supply will be destroyed. All life will be exterminated! Follow Melissa Mercer, James Wilson, and the President of the New America as they try to save the human race from extinction.

“A brilliant and bracing analysis of the Palestine question and settler colonialism . . . a vital lens into movement lawyering on the international plane.” —Vasuki Nesiah, New York University, founding member of Third World Approaches to International Law (TWAIL) Justice in the Question of Palestine is often framed as a question of law. Yet none of the Israel-Palestinian conflict’s most vexing challenges have been resolved by judicial intervention. Occupation law has failed to stem Israel’s settlement enterprise. Laws of war have permitted killing and destruction during Israel’s military offensives in the Gaza Strip. The Oslo Accord’s two-state solution is now dead letter. Justice for Some offers a new approach to understanding the Palestinian struggle for freedom, told through the power and control of international law. Focusing on key junctures—from the Balfour Declaration in 1917 to present-day wars in Gaza—Noura Erakat shows how the strategic deployment of law has shaped current conditions. Over the past century, the law has done more to advance Israel’s interests than the Palestinians’. But, Erakat argues, this outcome was never inevitable. Law is politics, and its meaning and application depend on the political intervention of states and people alike. Within the law, change is possible. International law can serve the cause of freedom when it is mobilized in support of a political movement. Presenting the promise and risk of international law, Justice for Some calls for renewed action and attention to the Question of Palestine. “Careful and captivating . . . This book asks that the Palestinian liberation struggle and Jewish-Israeli society each reckon with the impossibility of a two-state future, reimagining what their interests are—and what they could become.” —Amanda McCaffrey, Jewish Currents

The Burning Question reveals climate change to be the most fascinating scientific, political and social puzzle in history. It shows that carbon emissions are still accelerating upwards, following an exponential curve that goes back centuries. One reason is that saving energy is like squeezing a balloon: reductions in one place lead to increases elsewhere. Another reason is that clean energy sources don't in themselves slow the rate of fossil fuel extraction. Tackling global warming will mean persuading the world to abandon oil, coal and gas reserves worth many trillions of dollars — at least until we have the means to put carbon back in the ground. The burning question is whether that can be done. What mix of politics, psychology, economics and technology might be required? Are the energy companies massively overvalued, and how will carbon-cuts affect the global economy? Will we wake up to the threat in time? And who can do what to make it all happen? Published in Partnership with the David Suzuki Institute.

A history of the excesses of capitalism's rampant fossil fuel consumption since 1950.

Global Biomass Burning provides a convenient and current reference on such topics as the remote sensing of biomass burning from space, the geographical distribution of burning; the combustion products of burning in tropical, temperate, and boreal ecosystems; burning as a global source of atmospheric gases and particulates; the impact of biomass burning gases and particulates on global climate; and the role of biomass burning on biodiversity and past global extinctions."--Pub. desc.

This is the first in a series of books in which one of the most influential of contemporary art theorists revised from within the conceptions underlying the history of art. The author’s basic idea is that the rigor of linear perspective cannot encompass all of visual experience and that it could be said to generate an oppositional factor with which it interacts dialectically: the cloud. On a literal level, this could be represented by the absence of the sky, as in Brunelleschi’s legendary first experiments with panels using perspective. Or it could be the vaporous swathes that Correggio uses to mediate between the viewer on earth and the heavenly prospect in his frescoed domes at Parma. Insofar as the cloud is a semiotic operator, interacting with the linear order of perspective, it also becomes a dynamic agent facilitating the creation of new types of pictorial space. (Damisch puts the signifer cloud between slashes to indicate that he deals with clouds as signs instead of realistic elements.) This way of looking at the history of painting is especially fruitful for the Renaissance and Baroque periods, but it is also valuable for looking at such junctures as the nineteenth century. For example, Damisch invokes Ruskin and Turner, who carry out both in theory and in practice a revision of the conditions of appearances of the cloud as a landscape feature. Even for the twentieth century, he has illuminating things to say about how his reading of cloud applies to the painters Leger and Batthus. In short, Damisch achieves a brilliant and systematic demonstration of a concept of semiotic interaction that touches some of the most crucial features of the Western art tradition.