Human societies increasingly interact with processes on a geological or even cosmic timescale. Despite this recognition, we still lack a basic understanding of these interconnections and how they translate into politics. This Element provides an exploration and systematization of 'the politics of deep time' as a novel lens of planetary politics in three steps. First, it demonstrates why deep-time interactions render the politics of deep time essential; second, it asks how deep time should be politicized and third, it explicates the politics of deep time by examining representative cases. The Element also formulates a conceptual framework to open up possibilities for alliances that seek to better understand and realize the politics of deep time, pioneering a debate on how planetary temporalities can be politically institutionalized. This title is also available as Open Access on Cambridge Core.

Driven by the geological imagination of India as well as its landscape, people, past, and destiny, Inscriptions of Nature reveals how human evolution, myths, aboriginality, and colonial state formation fundamentally defined Indian antiquity.

This book examines the meaning of religion within the scientific, evidence-based history of our known past since the big bang. While our current major religions are only centuries or millennia old, our volume discusses the origins and development of human religious practice and belief over our species’ existence of 300,000 years. The volume also connects the scientific approach to natural and social history with ancient truths of our religious ancestors using new lines of inquiry, new technologies, new modes of expression, and new concepts. It brings together insights of natural scientists, social scientists, philosophers, writers, and theologians to discuss narratives of the universe. The essays discuss that to apprehend religion scientifically, or to interpret and explain science theologically, the subject must be examined through a variety of disciplinary lenses simultaneously and raise several theoretical, philosophical, and moral problems. With a singular investigation into the meaning of religion in the context of the 13.8 billion-year history of our universe, this book will be indispensable for scholars and students of religious studies, big history, sociology and social anthropology, philosophy, and science and technology studies.

“Deep time” is a term which attempts to capture temporal scales far beyond human comprehension. These are stretches of time epitomised by geological and cosmic scale processes, vast enough to make the entirety of human existence appear as little more than a footnote. The past few years have seen a boom in texts dedicated to the study of deep time, extending across a broad range of disciplines which fall markedly outside of its geological roots. These studies are unified by two ideas in particular: that deep time thinking and ecocriticism should be considered in conjunction, and that literature and the arts play a vital role in fostering a deep time awareness. Digressions in Deep Time is the first collection of essays which considers the multifarious representations of deep time across literature and the arts, assembling the work of a wide range of prominent scholars whose research frequently engages with temporality and ecocriticism. Featured contributions include work by the Pulitzer-prize winning author John McPhee, who popularised the term deep time in the late seventies, as well as chapters by Richard Irvine (author of An Anthropology of Deep Time), Benjamin Morgan (author of The Outward Mind) and Andrew Tate (author of Apocalyptic Fiction).

The vast shape-shifting continent of Australia enables us to take a long view of history. We consider ways to cross the great divide between the deep past and the present. Australia’s human past is not a short past, so we need to enlarge the scale and scope of history beyond 1788. In ways not so distant, these deeper times happened in the same places where we walk today. Yet, they were not the same places, having different surfaces, ecologies and peoples. Contributors to this volume show how the earth and its past peoples can wake us up to a sense of place as history – as a site of both change and continuity. This book ignites the possibilities of what the spaces and expanses of history might be. Its authors reflect upon the need for appropriate, feasible timescales for history, pointing out some of the obstacles encountered in earlier efforts to slice human time into thematic categories. Time and history are considered from the perspective of physics, archaeology, literature, western and Indigenous philosophy. Ultimately, this collection argues for imaginative new approaches to collaborative histories of deep time that are better suited to the challenges of the Anthropocene. Contributors to this volume, including many leading figures in their respective disciplines, consider history’s temporality, and ask how history might expand to accommodate a chronology of deep time. Long histories that incorporate humanities, science and Indigenous knowledge may produce deeper meanings of the worlds in which we live.

Zusammenfassung: This open access volume explores the impact of globalization on the contemporary study of deep-time art. The volume explores how early rock art research's Eurocentric biases have shifted with broadened global horizons to facilitate new conversations and discourses in new post-colonial realities. The book uses seven main themes to explore theoretical, methodological, ethical, and practical developments that are orienting the study of Pleistocene and Holocene arts in the age of globalization. Compiling studies as diverse as genetics, visualization, with the proliferation of increasingly sophisticated archaeological techniques, means that vast quantities of materials and techniques are now incorporated into the analysis of the world's visual cultures. Deep-Time Images in the Age of Globalization aims to promote critical reflection on the multitude of positive - and negative - impacts that globalization has wrought in rock art research. The volume brings new theoretical frameworks as well as engagement with indigenous knowledge and perspectives from art history. It highlights technical, methodological and interpretive developments, and showcases rock art characteristics from previously unknown (in the global north) geographic areas. This book provides comparative approaches on rock art globally and scrutinises the impacts of globalization on research, preservation, and management of deep-time art. This book will appeal to archaeologists, social scientists and art historians working in the field as well as lovers of rock art.

The new geological epoch we call the Anthropocene is not just a scientific classification. It marks a radical transformation in the background conditions of life on Earth, one taken for granted by much of who we are and what we hope for. Never before has a species possessed both a geological-scale grasp of the history of the Earth and a sober understanding of its own likely fate. Our situation forces us to confront questions both philosophical and of real practical urgency. We need to rethink who “we” are, what agency means today, how to deal with the passions stirred by our circumstances, whether our manner of dwelling on Earth is open to change, and, ultimately, “What is to be done?” Our future, that of our species, and of all the fellow travelers on the planet depend on it. The real-world consequences of climate change bring new significance to some very traditional philosophical questions about reason, agency, responsibility, community, and man’s place in nature. The focus is shifting from imagining and promoting the “good life” to the survival of the species. Deep Time, Dark Times challenges us to reimagine ourselves as a species, taking on a geological consciousness. Drawing promiscuously on the work of Nietzsche, Heidegger, Foucault, Derrida, Deleuze, and other contemporary French thinkers, as well as the science of climate change, David Wood reflects on the historical series of displacements and de-centerings of both the privilege of the Earth, and of the human, from Copernicus through Darwin and Freud to the declaration of the age of the Anthropocene. He argues for the need to develop a new temporal phronesis and to radically rethink who “we” are in respect to solidarity with other humans, and responsibility for the nonhuman stakeholders with which we share the planet. In these brief, lively chapters, Wood poses a range of questions centered on our individual and collective political agency. Might not human exceptionalism be reborn as a sort of hyperbolic responsibility rather than privilege?

Reconfigures the anthropology of time by viewing human social life as part of the long-term rhythms of geological formation.

"Deep Time: A Literary History challenges the exclusive association between deep time and the modern science of geology by focusing on late Enlightenment writings that used narrative form to integrate new empirical data and methods with Western and non-Western traditions of chronology, earth history, and human origins. Choosing the mid-eighteenth century as a starting point, Heringman aims to demonstrate how deep time became associated with Earth history in the first place, expanding its conceptual domain to include colonial natural history, oral tradition, and scientific romance-all frontiers of the expanded time horizons associated with modernity. It considers the conceptual opening of a modern geological timescale in literary, scientific, and travel writing in the late-Enlightenment/Romantic period, with chapters on the explorer-naturalist team of John Reinhold and George Forster, who sailed with Captain Cook (1772-1775); Buffon's protogeochronological Epochs of Nature (1778); Herder, Blake, and prehistory through oral tradition; and Charles Darwin's dialogue with anthropology and archaeology, especially in The Descent of Man (1871). When eighteenth- and nineteenth-century explorers, naturalists, poets, and philosophers wrote about the "abyss of time," they referred to a large and diverse set of new ideas that unsettled the established time scale: ideas about cultural evolution inspired by Pacific peoples recently encountered by James Cook and other voyagers; a new sense of the depth and diversity of the Earth's strata, produced by increased attention to their structure and deposition; the study of oral traditions by poets and scholars associated with the ballad revival; and the study of non-Western scriptures such as the Mahabharata, which calculated time on an entirely different scale. The latter two pursuits dovetailed with the investigations of voyagers from Johann Reinhold Forster to Charles Darwin, who sought to measure the age of non-European civilizations by way of the geological age of their environments. Ultimately, Heringman argues that the concept of deep time, now associated primarily with modern geology, "was a composite of human and natural history to begin with.""--

Via the Smithsonian Institution, an exploration of the growing friction between the research and outreach functions of museums in the 21st century. Describing participant observation and historical research at the Smithsonian’s National Museum of Natural History as it prepared for its largest-ever exhibit renovation, Deep Time, the author provides a grounded perspective on the inner-workings of the world’s largest natural history museum and the social processes of communicating science to the public. From the introduction: In exhibit projects, the tension plays out between curatorial staff—academic, research, or scientific staff charged with content—and exhibitions, public engagement, or educational staff—which I broadly group together as “audience advocates” charged with translating content for a broader public. I have heard Kirk Johnson, Sant Director of the NMNH, say many times that if you look at dinosaur halls at different museums across the country, you can see whether the curators or the exhibits staff has “won.” At the American Museum of Natural History in New York, it was the curators. The hall is stark white and organized by phylogeny—or the evolutionary relationships of species—with simple, albeit long, text panels. At the Field Museum of Natural History in Chicago, Johnson will tell you, it was the “exhibits people.” The hall is story driven and chronologically organized, full of big graphic prints, bold fonts, immersive and interactive spaces, and touchscreens. At the Denver Museum of Nature and Science, where Johnson had previously been vice president and chief curator, “we actually fought to a draw.” That, he says, is the best outcome; a win on either side skews the final product too extremely in one direction or the other. This creative tension, when based on mutual respect, is often what makes good exhibitions.