An increasing number of environmentally knowledgeable observers and activists comprehend the situation faced by the emerging global civilization and its unsustainable systems, characterized by planet‐altering positive feedback loops arising from human activity. They perceive contemporary natural and cultural developments as the prelude to the imminent collapse of technological civilization and the cataclysmic end of the Anthropocene epoch via a forced passage through the population bottleneck of the impending extinction‐level event which only a remnant of the present biosphere is likely to (...) survive. Should this understanding be accurate, our own time could become the occasion for the greatest choice ever made on Earth: whether to continue things as they are until humanity becomes the chief cause and the chief victim of the now‐unfolding mass extinction; or to make the necessary transition to the awakening of Planet Earth. (shrink)

Outlining the characteristics of “wicked” and “super‐wicked” problems, climate change is considered as a global super‐wicked problem that is primarily about the future. Being global‐ and future‐oriented makes climate change something we have to learn to live with but cannot expect to solve. Because the Institute on Religion in an Age of Science (IRAS) is a multidisciplinary society that yokes the natural and social sciences with values, it is in a position to explore strategies for living with climate change—exemplified by (...) the articles in this section. Finally, asking “who/what is in charge,” it is suggested that in a dynamically interrelated and evolving world no one is. It is important to distinguish between good that is already created and the creative interactions that give rise to new good. In order to live with climate change, our primary orientation should be to live with the creativity that has created and continues to create our life on Planet Earth—since we are not able to know what the future holds. (shrink)

This essay examines various contemporary artistic responses to climate change. These responses encompass multiple media and diverse philosophical and emotional forms, from grief and resignation to resistance, hope, and poignant celebration of spiritual value and natural beauty. Rejecting much of the terminology of current theory, the author considers the artworks in relation to interrelated and arguably unjustly discredited aesthetic and theological categories, namely, the sublime and the beautiful as well as the via negativa, the latter adapted from Thomas Aquinas by (...) theologian Matthew Fox. Art's power is seen largely as the ability to “humanize” the science by rendering it emotionally, psychologically, and spiritually relatable to individuals. The broken relationship between humanity and nature seems related to the need for a renewed religious sense of integration with, and belonging to, the cosmos. Art might play a pivotal role in bringing this about. (shrink)

An increasing number of environmentally knowledgeable observers and activists comprehend the situation faced by the emerging global civilization and its unsustainable systems, characterized by planet‐altering positive feedback loops arising from human activity. They perceive contemporary natural and cultural developments as the prelude to the imminent collapse of technological civilization and the cataclysmic end of the Anthropocene epoch via a forced passage through the population bottleneck of the impending extinction‐level event which only a remnant of the present biosphere is likely to (...) survive. Should this understanding be accurate, our own time could become the occasion for the greatest choice ever made on Earth: whether to continue things as they are until humanity becomes the chief cause and the chief victim of the now‐unfolding mass extinction; or to make the necessary transition to the awakening of Planet Earth. (shrink)