Abstract
AbstractThe coda sketches out relevant semantic shifts in climate discourse after 1860. It argues that an increasingly deterritorialized version of the tropics continues to haunt the current understanding of climate as a global, temporalized system, as shown, for instance, in the geographical school of environmental determinism and its various offshoots. The coda further comments on recent debates on the Anthropocene and global climate change, insisting that current conceptualizations of climate as a singular, future-oriented entity are profoundly political and ideological by virtue of their reliance on a logic of temporal acceleration and a generalized crisis mood. The coda concludes with some reflections on the aesthetics of global warming, which is now predominantly represented in terms of sublime collapse to the exclusion of other aesthetic registers. Re-activating now largely dormant aesthetic doctrines, such as the picturesque, might allow us to make tangible the timescales of the Anthropocene without reproducing the logic of acceleration embedded in the modern timescape.
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