The Anthropocene concept allows human history to be imagined within the temporal framework of planetary processes. Accordingly, some environmentalists increasingly favour massively lengthening the temporal horizons of moral concern. Whilst there are defensible reasons for doing so, I wish to take issue with the ‘secular time’ perspective underlying some such approaches. To make my case, I present, in the first section, two recent manifestations of the long view perspective: a) ‘deep future’ narratives in popular climate science and futurism; b) the (...) ideas behind the Long Now Foundation. In the second section, I apply a critical lens to these perspectives via classic analyses of secular time by Charles Taylor, Hannah Arendt and Giorgio Agamben. I conclude by suggesting that these post-secular critiques should be considered alongside recent approaches to the Anthropocene and the ‘geological turn’ from new materialist perspectives. (shrink)

_ Source: _Volume 9, Issue 2, pp 220 - 239 Art has been crucial for Western philosophy roughly since Kant – that is, for what is becoming known as “correlationist” philosophy – because it has so often had assigned to it a singular ontological status. The artwork, in this view, is material being that has been transfigured and shot through with subjectivity. The work of art, what art does and how it works have all been understood as mediating between the (...) otherwise irreconcilable opposites of historical spirit and the mute material world, between communicative thought and the unresponsiveness otherness of nature. I revisit this aesthetic tradition from the perspective of the Anthropocene, the proposed name of the new geological epoch of the present, distinguished by the fact that collective human action has now acquired the scale of a world-shaping natural force. The Anthropocene is at once a geological epoch and a historical period. What forms of narrative might possibly relate these two temporal orders together? What other aesthetic categories might help us think through the conceptual impasse of the Anthropocene present? How might aesthetic experience illuminate the history of Anthropocene? What natural histories might artworks tell today? My speculative endpoint: the Anthropocene globe is the universal artwork of the contemporary moment. (shrink)