I roam around a lot in my territory, but what I learn at one end inflects and opens up my understanding at the other.

Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.

We fly; we dream in darkness; we devour heaven in bites too small to be measured.

We are entering an era of heightened disaster, thanks to climate change. Being prepared for disaster will mean being prepared to sift truth from rumour, and being prepared to adjust our worldview.

It's hardly surprising that the corporate aliens lie when it comes to the relationship between doing something about climate change and the economy.

People rescue each other. They build shelters and community kitchens and ways to deal with lost children and eventually rebuild one way or another.

I'm a big fan of the vigor of civil society, political engagement, and public life in many parts of Latin America.