This book is highly interdisciplinary and this increases the probability that it will be of interest not only to scholars but as a course text in Science & Technology Studies, Science Communication, Science Policy, Visual Culture, and Art Studies. This book has a relatively low degree of competition, because other texts in the area have been written for advanced scholars focuses on the bridge between two fields (biology and dance or physics and photography) rather than a broad text which coalesces the broader Science Studies and Art landscape. The book is timely and has general appeal and could appear in science or art museum bookstores because of its introductory level and the excitement from the public for art-science work. The editors represent the first generation of scholars to receive their PhDs in this area and thus have a comprehensive understanding of the field, emerging work in this area, and the uses of such a handbook in the classroom. This book is unique the variety of methods from ethnographies to histories to curation practices to outreach activities that will be covered, so portions of the book will likely be applicable to many practitioners outside of academia. Outlets like A2RU, Leonardo, and SLSA conferences and listings will likely sales targets, but so will organizations like science centers with visiting artists, communication and outreach conferences sponsored by science societies, OBSF Environmental and Biological field stations which teach art and humanities courses, the NSF-funded LTER network which supports "Ecological Reflections," a major humanities and arts component, as well as art collectives and galleries that host science and technology shows and residencies.

This book is highly interdisciplinary and this increases the probability that it will be of interest not only to scholars but as a course text in Science & Technology Studies, Science Communication, Science Policy, Visual Culture, and Art Studies. This book has a relatively low degree of competition, because other texts in the area have been written for advanced scholars focuses on the bridge between two fields (biology and dance or physics and photography) rather than a broad text which coalesces the broader Science Studies and Art landscape. The book is timely and has general appeal and could appear in science or art museum bookstores because of its introductory level and the excitement from the public for art-science work. The editors represent the first generation of scholars to receive their PhDs in this area and thus have a comprehensive understanding of the field, emerging work in this area, and the uses of such a handbook in the classroom. This book is unique the variety of methods from ethnographies to histories to curation practices to outreach activities that will be covered, so portions of the book will likely be applicable to many practitioners outside of academia. Outlets like A2RU, Leonardo, and SLSA conferences and listings will likely sales targets, but so will organizations like science centers with visiting artists, communication and outreach conferences sponsored by science societies, OBSF Environmental and Biological field stations which teach art and humanities courses, the NSF-funded LTER network which supports "Ecological Reflections," a major humanities and arts component, as well as art collectives and galleries that host science and technology shows and residencies.

The Desert Turned to Glass is a place where the cosmic and chthonic collide. Commemorating the centenary of the planetarium as an architectural type, this book collects a new body of work by acclaimed Canadian artist Charles Stankievech. Thematically, the project explores alternative theories concerning the origin of life, consciousness, and art—bridging the cosmological visions of cave art and the modern technology of the planetarium. Richly illustrated, the book pairs images of Stankievech’s installations and cinematic works with newly commissioned writings by geologists, exobiologists, philosophers and archeologists. Spanning the abyss of space and the depths of the earth, The Desert Turned to Glass is an epic meditation on origins, endings, and infinity.

Today, weather extremes brought about by anthropogenic climate change pose relentless cognitive and imaginative challenges. Beyond news media, what are the cultural registers of this phenomenon? How can artistic and literary engagements with destabilizing natural patterns summon new planetary imaginaries-reorienting perspectives on humanity's position within the environment? A Year Without a Winter brings together science fiction, history, visual art, and exploration. Inspired by the literary 'dare' that would give birth to Mary Shelley's Frankenstein amidst the aftermath of a massive volcanic eruption, and today, by the utopian architecture of Paolo Soleri and the Arizona desert, expeditions to Antarctica and Indonesia, this collection reframes the relationship among climate, crisis, and creation. The 1815 eruption of Mount Tambora, on the Indonesian island of Sumbawa, enveloped the globe in a cloud of ash, causing a climate crisis. By 1816, remembered as the 'year without a summer,' the northern hemisphere was plunged into cold and darkness. Amidst unseasonal frosts, violent thunderstorms, and a general atmosphere of horror, Shelley began a work of science fiction that continues to shape attitudes to emerging science, technology, and environmental futures. Two hundred years later, in 2016, the hottest year on historical record, four renowned science fiction authors were invited to the experimental town of Arcosanti, Paolo Soleri's prototype for arcology, to respond to our present crisis. A Year Without a Winter presents their stories alongside critical essays, extracts from Shelley's masterpiece, and dispatches from expeditions to extreme geographies. Broad and ambitious in scope, this book is a collective thought experiment retracing an inverted path through narrative extremes. A Year Without a Winter is edited by Dehlia Hannah in collaboration with science fiction editors Brenda Cooper, Joey Eschrich, and Cynthia Selin. The book includes a suite of commissioned stories by Tobias Buckell, Nancy Kress, Nnedi Okorafor, and Vandana Singh; essays by Dehlia Hannah, Gillen D'Arcy Wood, James Graham, Hilairy Hartnett, David Higgins, Nadim Samman, and Pablo Suarez; artwork by Julian Charriere and Karolina Sobecka; and literary excerpts by Mary Shelley and Lord Byron.