Guest Editors<\/strong> Sheena Wilson and\u00a0Andrew Pendakis<\/p>\n Sight, Site, Cite : Oil in the Field of Vision<\/a>\u00a0| Sheena Wilson and\u00a0Andrew Pendakis<\/p>\n This is Not a Pipeline: Thoughts on the Politico-Aesthetics of Oil<\/a>\u00a0| Ursula Biemann and Andrew Pendakis<\/p>\n Tarhands: A Messy Manifesto<\/a>\u00a0| Warren Cariou<\/p>\n Unconventional Oil and the Gift of the Undulating Peak<\/a>\u00a0| Allan Stoekl<\/p>\n Oil Imag(e)inaries: Critical Realism and the Oil Sands<\/a>\u00a0| Imre Szeman and Maria Whiteman<\/p>\n Imagining the Tar Sands 1880 -1967 and Beyond<\/a>\u00a0| Mike Gismondi and Debra J. Davidson<\/p>\n Everything\u2019s Gone Green: The Environment of BP\u2019s Narrative<\/a>\u00a0| Peter Hitchcock<\/p>\n A Scale That Exceeds Us: The BP Gulf Spill Footage and Photographs of Edward Burtynsky<\/a>\u00a0| Lance Duerfahrd<\/p>\n Resistance is Futile? Enduring Hegemony Despite Ideological Challenge<\/a>\u00a0| Tracy Lassiter<\/p>\n Reframing Canadian Oil Sands<\/a>\u00a0|\u00a0Curatorial Essay\u00a0<\/strong>Merle Patchett |\u00a0Photographs and Creative Text<\/strong>\u00a0Andriko J. Lozowy<\/p>\n Rethinking Bitumen: from \u201cBullshit\u201d to a \u201cMatter of Concern\u201d<\/a>\u00a0|\u00a0Jonathan Gordon<\/p>\n The New Topographics, Dark Ecology, and the Energy Infrastructure of Nations: Considering Agency in the Photographs of Edward Burtynsky and Mitch Epstein from a Post-Anarchist Perspective<\/a>\u00a0| Michael Truscello<\/p>\n Prelude to the Energy Era in Film Studies<\/a>\u00a0|\u00a0Review of Nadia Bozak, The Cinematic Footprint: Lights, Camera, Natural Resources\u00a0|\u00a0<\/em>Georgiana Banita<\/p>\n Tide of Extinction<\/a>\u00a0|\u00a0Review of Reza Negarestani, Cyclonopedia: Complicity with Anonymous Materials\u00a0|\u00a0<\/em>Tim Kaposy<\/p>\n Carbon Democracy: Historicizing Friction?<\/a>\u00a0|\u00a0Review of Timothy Mitchell. Carbon Democracy: Political Power in the Age of Oil\u00a0| <\/em>Mark Simpson<\/p>\n http:\/\/dx.doi.org\/10.17742\/IMAGE.sightoil.3-2 | Cover Image<\/strong> Andriko Lozowy |\u00a0<\/span>Full Issue PDF<\/a><\/p>\n This is Not a Pipeline: Thoughts on the Politico-Aesthetics of Oil<\/strong> | Ursula Biemann and Andrew Pendakis<\/p>\n ABSTRACT: This piece is a dialogue between Andrew Pendakis and video artist Ursula Biemann. In it they attempt to work through questions pertaining to the aesthetics of petroculture: How can one represent oil? Is there a generalized aesthetics of oil? What are the linkages between oil and secrecy? What strategies are best avoided in attempting to force into visibility the complex realities of oil culture?<\/p>\n Tarhands: A Messy Manifesto<\/strong> | Warren Cariou<\/p>\n ABSTRACT: This essay attempts to make visible the physical reality of the Athabasca oil sands mining developments in Canada, a reality that has been occluded by corporate and governmental disinformation as well as by citizens\u2019 unwillingness to face the consequences of their actions and their inaction.\u00a0 By presenting photographs of oil sands mining operations interspersed with brief ironic narratives, aphorisms and poems, the essay creates a collage of disjunctive responses to the contemporary situation in the Canadian petro-state.\u00a0 Given that this situation is one of national self-deception, denial and fundamentally irrational behavior, the paper sets aside any attempt to make reasoned arguments about conservation or regulation, and instead embraces irrationality as the last possible mode of engagement with a contemporary public that will no longer listen to reason.\u00a0 In tone and structure the essay echoes F. T. Marinetti\u2019s 1909 \u201cFuturist Manifesto,\u201d but it is very different in its intent, mapping a way toward a different kind of future than the technologized and hyper-individualistic one that Marinetti espoused.\u00a0 By moving into the realm of the irrational and engaging with Canadian petroculture as an expression of a kind of national unconscious, the essay attempts to reveal some of the psychological structures that prevent Canadians from seeing the dirt that is on their hands.<\/p>\n A Scale That Exceeds Us: The BP Gulf Spill footage and Photographs of Edward Burtynsky<\/strong> | Lance Duerfahrd<\/p>\n ABSTRACT: Our fascination with the surveillance video of oil gushing from the British Petroleum Gulf Spill in 2010 expresses a paradox: our ultimate irrelevance to technological progress apparently undertaken for our benefit, in our name, and in response to our demand. These images present a visual model for all future disasters: here, something is happening but nothing is changing. This picture of disaster without progression and syntax has been witnessed before but only on stage, in Samuel Beckett\u2019s Waiting for Godot and Endgame<\/em>. Art has mustered only a weak rejoinder to the subdued shudder inspired by the BP video. Our fascination with the BP footage is echoed faintly in our response to Edward Burtynsky\u2019s OIL<\/em>. \u00a0In his photographs of the petroleum industry, Burtynsky removes the human measuring stick, thereby triggering our sense of the enormity (both of the size and of the crime) of the petroleum industry. Yet unlike the BP video, these images recuperate our horror at the obscure scale of what they show us. Instead of recoiling from Burtynsky’s work, the viewer is placated through an appreciation for the artist\u2019s control of his medium and its iconic language.<\/p>\n Imagining the Tar Sands 1880 -1967 and Beyond<\/strong> | Mike Gismondi and Debra J. Davidson<\/p>\n ABSTRACT: For much of the history of Alberta\u2019s tar sands, a series of visual conventions have shaped Canadian imaginaries of the resource, the emergence of the non-conventional oil industry, and the mining of oil.\u00a0 We introduce a series of archival images dating from 1880 until the opening of Great Canadian Oil Sands (Suncor) in 1967, to analyze how visual representations were used to justify government and public support for bitumen mining and refining, to legitimate state research into the separation of oil from the sands, and to ideologically sustain public funding of the development of this unique Canadian resource industry. We conclude that many elements of these early positive normative conceptual frameworks remain in play today, used by corporate and government meaning\u2013makers to blunt contemporary critiques by the public of social and ecological tradeoffs, and ultimately to legitimate Alberta and Canada\u2019s pursuit of non-conventional oil as an acceptable energy future.<\/p>\n Rethinking Bitumen: from \u201cBullshit\u201d to a \u201cMatter of Concern\u201d<\/strong> | Jonathan Gordon<\/p>\n ABSTRACT: What is the current state of discourse about bitumen and how might it be changed? Philosopher Harry Frankfurt defines \u201cbullshit\u201d as any attempt at persuasion that is \u201cunconnected to a concern with the truth\u201d (Frankfurt). By looking at a variety of recent examples from the debates over bitumen extraction, \u201cRethinking Bitumen\u201d argues that these debates have many of the characteristics that Frankfurt ascribes to \u201cbullshit.\u201d It is argued further that the debate\u2019s disconnect from a concern with truth is rooted in what Bruno Latour calls \u201cmatters of fact\u201d (\u201cCritique\u201d 226).\u00a0 Attempts to persuade are built on \u201cmatters of fact\u201d\u2014which can be debunked by both sides as ideological\u2014when they should be founded on the ecological consciousness of what Latour calls \u201cmatters of concern\u201d (ibid.) Literature offers one means of effecting this transition from \u201cmatters of fact\u201d to \u201cmatters of concern.\u201d This article considers Marc Prescott\u2019s play Fort Mac<\/em> as one example of a literary text that creates an opportunity for engaging in ecological thinking about bitumen and for deploying affect and sensation to change the prevailing values about it, to see bitumen as a \u201cmatter of concern.<\/p>\n Everything\u2019s Gone Green: The Environment of BP\u2019s Narrative<\/strong> | Peter Hitchcock<\/p>\n ABSTRACT: This essay looks at a particularly galling phenomenon for environmentalism, the “green” globalism of an oil conglomerate.\u00a0 Rather than simply dismiss such gestures as corporate cynicism, the paper suggests that one might usefully pay attention to the narrative modes at stake in these initiatives which here connect the exploitation of modernity to a parabolic logic. BP’s going green is seen as an extension rather than as a contravention of its social being and shows why, even after the Deepwater Horizon disaster, BP’s desire to move “beyond petroleum” means more rather than less oil exploitation.<\/p>\n Resistance is Futile? Enduring Hegemony Despite Ideological Challenge<\/strong> | Tracy Lassiter<\/p>\n ABSTRACT: Hegemonic discourse often portrays as \u201cnormal\u201d or desirable the use of fossil fuels, despite the devastation brought through accessing those fuels. Currently, some of the worst examples of this devastation result from the petroleum industry. However, efforts to challenge its practices\u2013and its hegemonic power\u2013in fact reinforce other forms of hegemonic power. This article examines some of those instances. This article analyzes filmmaker Joe Berlinger\u2019s 2009 documentary Crude<\/em>. Crude<\/em> features the lawsuit filed by 30,000 Ecuadorian people against Chevron. Ironically, Crude <\/em>shows how Western upper-class privilege is invoked to solve the Ecuadorians\u2019 problems. We can infer their resistance to one hegemonic power\u2013i.e., a multinational petroleum corporation\u2013is only possible through using other hegemonic power like white, male, upper-class privilege. This article draws upon Gayatri Spivak\u2019s canonical text \u201cCan the Subaltern Speak\u201d and Louis Althusser\u2019s concept of ideological apparatuses to support this claim.<\/p>\n Reframing the Canadian Oil Sands<\/strong> |\u00a0Merle Patchett – Curatorial Essay and\u00a0Andriko J. Lozowy – Photographs and Creative Text<\/p>\n ABSTRACT: \u201cReframing the Canadian Oil Sands\u201d is a collaborative exchange between photographer Andriko Lozowy and cultural geographer Merle Patchett that engages photography and photographic theory to evoke a more critical and politically meaningful visual engagement with the world\u2019s largest capital oil project. Since the appearance of Edward Burtynsky\u2019s aerial and abstracted photographic-mappings of the region, capturing the scale of the Oil Sands from \u2018on high\u2019 has become the dominant visual imaginary. As a result, the dominant visual culture of Fort McMurray oil production is one of nullification or an erasure of representation. For the past five years Lozowy has been engaged in a photographic project\u2014entitled Where is Fort McMurray?<\/em>\u2014which aims to explore and work with <\/em>this sense of erasure by attempting to capture the shifting (and shifted) landscapes of the Alberta Oil Sands from the roadside. For this special issue of Imaginations<\/em> on “Sighting Oil”, Patchett and Lozowy have curated a set of Lozowy\u2019s photographs to present an alternative, on-the-ground, view of Oil Sands production sites. Through both Lozowy\u2019s images and Patchett\u2019s framing curatorial essay, they explore the disruptive potential of the image and the capacity of photography to both neutralize and energize political engagement with the Canadian Oil Sands.”<\/p>\n Unconventional Oil and the Gift of the Undulating Peak<\/strong> | Allan Stoekl<\/p>\n ABSTRACT: In the first part of this essay, I consider why the discussion over the likelihood of imminent \u201cpeak oil\u201d has faded from public view in the last few years. I suggest that, due to the decline in demand (due to the recession) and the development of \u201cunconventional\u201d natural gas and oil sources, the \u201ccost\u201d of fuels has passed from the obvious rise in price<\/em> to that of another dimension: the rise of hidden, \u201cexternal\u201d costs\u2014a recession triggered by too-high prices, pollution, climate change, and so on. I argue, moreover, that this externalized cost forever defies precise measurement. This is clear, for example, in the case of the \u201cunconventional\u201d production of gas in the \u201ctar sands\u201d region of Alberta. How can one measure the cost of drifting underground plumes of arsenic that may not show up for hundreds of years? All of this makes a precise calculation of \u201csustainability\u201d just about impossible, while at the same time not absolving us\u2014all of those living in the current fossil-fuel civilization\u2014from attempting to calculate it. In the final part of the essay, I suggest that our subjectivity\u2014as consumers, as free agents\u2014is itself an after-effect of the agency of oil: we as subjects are interpellated by oil. Thus one response to the unknowability of externalities\u2014tied to the impossibility of the \u201cclosed economy\u201d of sustainability calculation\u2014may be a different model of agency, in which calculation is replaced, or supplemented, by the act of gift-giving. Most important, perhaps, would be the giving of the gift of oil \u201caddiction\u201d not to any recipient (or agent), but to a necessarily repeated forgetting.<\/p>\n Oil Imag(e)inaries: Critical Realism and the Oil Sands<\/strong> | Imre Szeman and Maria Whiteman<\/p>\n ABSTRACT: This photo-essay constitutes an initial attempt to map out the forces and dynamics of capital at work in Fort McMurray, Alberta\u2014a primary site of global oil extraction and a space that is now at the heart of the contemporary Canadian economy; it does so through the practice of \u2018critical realism\u2019 advocated by artist and critic Allan Sekula. The essay consists of three parts. In the first part, we describe the characteristics of Sekula\u2019s critical realism, focusing in particular on his employment of this aesthetico-political practice in his book\u00a0Fish Story<\/em> (1991), an attempt to challenge dominant narratives about globalization as immaterial and unrepresentable by means of a focus on the transportation of goods by container ships. In the second part, we explore the challenge of representing another all-too frequently hidden material dimension of globalization: our continued dependence on oil and its by-products. Instead of focusing directly and literally on the site of oil extraction, the photo-essay we produce in the third part probes the effects of oil on life and labour in Fort McMurray. We do so in order to better understand the city\u2019s specific socio-political challenges and to grasp the broader implications of oil for contemporary politics, culture and representation.<\/p>\n The New Topographics, Dark Ecology, and the Energy Infrastructure of Nations: Considering Agency in the Photographs of Edward Burtynsky and Mitch Epstein from a Post-Anarchist Perspective<\/strong> | Michael Truscello<\/p>\n ABSTRACT: Edward Burtynsky’s aesthetic and the New Topographic aesthetic from which it derives, I argue, should not be seen as apolitical but rather as traces of an empire in ruins and a sociality to come; that is, by employing a post-anarchist analysis, I demonstrate how Burtynsky’s photographs in his recent collection Oil,<\/em> and Mitch Epstein’s images from American Power<\/em>, produce an aesthetic of what Yves Abrioux calls “intensive landscaping,” or “landscaping as style, as the promise of a social spacing yet to come” (264). What Burtynsky and Epstein accomplish in their photographs related to energy in particular is “to invent relations, rather than assert ideological or cultural control” (ibid.); the place of energy extraction and transport becomes not a self-contained striation of ecological degradation, but a “place of passage,” to use Deleuze and Guattari’s terminology, a depiction of wildness and civilization in contact, assembled and reformulating the landscape into something other. The aesthetic under consideration has much in common with Timothy Morton’s “dark ecology” and Stephanie LeManager’s \u201cfeeling ecological,\u201d theories that attempt to understand the affective connections between the infrastructure of oil capitalism and ecology (\u201cPetro-Melancholia\u201d 27).<\/p>\n Banita, Georgiana:<\/strong> Dr. Georgiana Banita is an assistant professor of North American literature and media at the University of Bamberg and Honorary Research Fellow at the United States Studies Centre, University of Sydney. She is the author of Plotting Justice: Narrative Ethics and Literary Culture after 9\/11<\/em> (Nebraska 2012) as well as several recent essays on petrofiction and globalization since 9\/11, American petroleum history on film, and the aesthetics of oil in films by Michelangelo Antonioni and Bernardo Bertolucci.<\/p>\n Biemann, Ursula:<\/strong> Ursula Biemann, is a video artist and theorist based in Zurich, Switzerland. She has produced a considerable body of work on migration, technology and resource geographies. She is curator of research projects such as The Maghreb Connection<\/em> (2006), Sahara Chronicle<\/em> (2006-2009), Egyptian Chemistry<\/em> (2012) and the collaborative media platform Supply Lines<\/em> (2012). She published several books including Stuff It: The Video Essay in the Digital Age<\/em> (2003),\u00a0 Geography and the Politics of Mobility<\/em> (2003) and Mission Reports<\/em> (2008), a monograph of her video works. Biemann’s practice has long included discussions with academics and other practitioners, she has worked with anthropologists, cultural theorists, NGO members and architects. Her video essays reach a diverse audience through festival screenings, art exhibitions, activist conferences, networks and educational settings. She holds an honorary degree in humanities of the Swedish University of Umea and is a researcher at the Institute for Critical Theory at the University of the Arts Zurich. www.geobodies.org<\/a><\/p>\n Cariou, Warren: <\/strong>Warren Cariou was born in Meadow Lake, Saskatchewan into a family of M\u00e9tis and European heritage. He has published numerous articles on Canadian Aboriginal Literature and he has published a collection of novellas, The Exalted Company of Roadside Martyrs <\/em>(1999) and an award-winning memoir\/cultural history entitled Lake of the Prairies <\/em>(2002). <\/em> He has also co-directed and co-produced two films about Aboriginal people in western Canada\u2019s oil sands region:\u00a0 Overburden<\/em> and Land of Oil and Water<\/em>.\u00a0 His latest book is Manitowapow: Aboriginal Writings from the Land of Water <\/em>(2012),<\/em> co-edited with Niigaanwewidam James Sinclair.\u00a0 He is a Canada Research Chair and Director of the Centre for Creative Writing and Oral Culture at the University of Manitoba.<\/p>\n Davidson, Debra J.: <\/strong>Debra J. Davidson is Associate Professor of environmental sociology in the Department of Resource Economics and Environmental Sociology at University of Alberta. Her areas of teaching and research include the social dimensions of energy and climate change. Together with Michael Gismondi, with whom she shares an interest in interdisciplinary thinking about the transition to sustainability, she has co-authored\u00a0Challenging Legitimacy at the Precipice of Energy Calamity<\/em> (2011). This is one of very few sociological analyses of the Alberta tar sands.<\/p>\n Duefahrd, Lance: <\/strong>Lance Duerfahrd is Assistant Professor of Film and Photographic Study in the English Department at Purdue University. He is the author of The Work of Poverty: Samuel Beckett’s Vagabonds and the Theater of Crisis<\/em> (The Ohio State University Press, forthcoming), and articles on actor Klaus Kinski, and directors Joseph Lewis, William Wyler, and Ed Wood. Lance has been interviewed in The Chicago Tribune<\/em> and appeared on National Public Radio, the BBC, and the CBC network to discuss his research in bad film.<\/p>\n Gismondi, Michael: <\/strong>Mike Gismondi is Professor of sociology and global studies at Athabasca University. His areas of teaching and research include the sociology of power and environmental issues. Together with Debra J. Davidson, with whom he shares an interest in interdisciplinary thinking about the transition to sustainability, he has co-authored\u00a0Challenging Legitimacy at the Precipice of Energy Calamity<\/em> (2011). This is one of very few sociological analyses of the Alberta tar sands.<\/p>\n Gordon, Jonathan: <\/strong>Jonathan Gordon\u00a0 has taught in English and Film Studies and at the University of Alberta and Writing Studies at Maskwachees Cultural College. He currently teaches Writing Studies in the Office of Interdisciplinary Studies at the University of Alberta. His dissertation, Belonging and Homelessness in \u2018Post-Modern\u2019 Alberta Literature: Community at the Limits of Discourse<\/em>, examines the cultural signifying practices that constitute community in Alberta and critiques their various complicities with the homogenizing narrative of capitalism. He has published on hog production\u2014\u201c\u2018Bent to the Shape of Wordlessness\u2019: Home, Hogs, and Community at the Limits of Discourse\u201d\u2014 mountaineering literature\u2014\u201cMeans and Motives: The Mystification of Mountaineering Discourse\u201d\u2014and bitumen\u2014\u201cDisplacing Oil: Towards \u2018Lyric\u2019 Re-presentations of the Alberta Oil Sands.\u201d His current project, Unsustainable Rhetoric: Liberalism, Ecology, and Industrial Mega-projects<\/em>, of which the article in this journal is a part, goes beyond purely literary analysis to study advertising and media representations of various mega-projects: industrialized agriculture, hydroelectric dams, and oil extraction.<\/p>\n Hitchcock, Peter: <\/strong>Peter Hitchcock is Professor of English at Baruch College and the Graduate Center of the City University of New York.He is also Associate Director of the Center for Place, Culture and Politics at the GC.\u00a0 His books include, Dialogics of the Oppressed<\/em>, Oscillate Wildly<\/em>, Imaginary States<\/em>, and The Long Space<\/em>.\u00a0 His current research includes a study of commodity architectonics of which his work on oil is a part.<\/p>\n Kaposy, Tim: <\/strong>Tim Kaposy is Assistant Professor of English and Communications at Niagara College. He is co-editor, with Imre Szeman, of Cultural Theory: An Anthology<\/em> (Wiley-Blackwell, 2010) and the author of Documentary in the Age of Global Capital<\/em> (currently, as of 2012, under review with University of Toronto Press).<\/p>\n Lassiter, Tracy: <\/strong>Tracy Lassiter is an ABD English student in Indiana University of Pennsylvania\u2019s Literature and Criticism program. She received her Master\u2019s Degree in Comparative Literature from Indiana University and subsequently taught English for five years at Eastern Arizona College before entering IUP\u2019s PhD program. Currently, she is writing a dissertation on petrofiction.<\/p>\n Lozowy, Andriko: <\/strong>Andriko Lozowy\u2019s current research considers the Canadian Oil Sands through a sociology of images, photo-methodologies, and collaborative youth practices of resistance. As a doctoral student at the University of Alberta, Andriko has been fortunate to be stationed at the Northern gateway. Edmonton is marked as a place of flow, and serves as a zone of secondary oil sands industry, as well as being the major city that services Fort McMurray with commuting workers, and industrial tools. His work is currently in multiple stages, as a dissertation: Photographing Alberta\u2019s Oil Industry Landscape: Prom Practice to Collaboration<\/em>, as well as parsed out as a series of connected articles: Lozowy, Shields & Dorow, \u201cCameras Creating Community\u201d Canadian Journal of Sociology<\/em> (Forthcoming, 2012); Shields and\u00a0 Lozowy, \u201cMashups, Youth Culture\u201d, Environment and Planning: Society and Space<\/em> (Under Review). \u201cMega-Haulers,\u201d Encyclopedia of Consumption and Waste<\/em> (2012);\u00a0 \u201cPicturing Industrial Landscapes\u201d Space & Culture<\/em> (Under Review).<\/p>\n Patchett, Merle: <\/strong>Merle Patchett is Lecturer in Cultural Geography at the School of Geographical Sciences at the University of Bristol.\u00a0 Her research broadly investigates interactions between people and the material world and the ways in which these interactions are imagined and practiced in science, art and everyday life.\u00a0 Merle has published her research widely and in a range of formats.\u00a0 Interested in expanding the conceptions of research output, Merle has also curated material culture exhibitions to national and international acclaim. Her most recent curatorial productions have included the urban design competition Strip Appeal<\/em>: Reinventing the Strip Mall<\/em> (www.strip-appeal.com<\/a>) and the museum exhibition Fashioning Feathers: Dead Birds, Millinery Crafts, and the Plumage Trade<\/em> (www.fashioningfeathers.com<\/a>). These exhibitions were completed during her time as a Postdoctoral Fellow at the University of Alberta, a time which also inspired her current research interest in the aestheticization of landscapes of oil production.<\/p>\n Pendakis, Andrew: <\/strong>Andrew Pendakis is Postdoctoral Fellow of Contemporary Culture at the University of Alberta. His research focuses on contemporary political culture, with a special interest in the conceptual and institutional histories of centrism. His work has appeared or is forthcoming in Criticism, Imaginations<\/em>, Politics and Culture<\/em>, Essays in Canadian Writing<\/em>, and Mediations<\/em>. He is also a contributor to upcoming books on Adorno (Polity Press) and Canadian Cultural Studies<\/em> (Oxford UP) and the co-editor, with Dr. Imre Szeman and Dr. Nicholas Brown, of Contemporary Marxist Theory: An Anthology<\/em> (Continuum Press).<\/p>\n Simpson, Mark:<\/strong> Mark Simpson is an associate professor in the Department of English and Film Studies at the University of Alberta. His research takes up\u00a0issues of mobility, circulation, and collectivity in US culture. He has published Trafficking Subjects: The Politics of Mobility in Nineteenth-Century America<\/em> with the University of Minnesota Press (2005), and articles and chapters in English Studies in Canada<\/em>, Nineteenth-Century Prose<\/em>, Cultural Critique<\/em>, and the recent Oxford UP collection US Popular Print Culture 1860-1920<\/em>, among other venues. Current projects include a study of postcard culture circa 1900, and a study of taxidermy and animal conservation.<\/p>\n Stoekl, Allan: <\/strong>Allan Stoekl is Professor of French and Comparative Literature at Pennsylvania State University. He has written extensively on twentieth century French intellectual history, from the double perspective of intellectual engagement and the economies of expenditure. Recent work has focused on issues of energy use and waste in the postmodern fossil fuel economy, from the perspective of a revised reading of the French philosopher-critic Georges Bataille, Bataille’s Peak: Energy, Religion, Postsustainability<\/em> (2007). Future work involves readings of avant-garde theories of the city (surrealism, the situationists, Le Corbusier) from the perspective of contemporary questions of energy use and mobility in the city.<\/p>\n Szeman Imre: <\/strong>Imre\u00a0Szeman\u00a0is Canada Research Chair in Cultural Studies and Professor of English and Film Studies at the University of Alberta.\u00a0He is the author, co-author or co-editor of ten books to date; four additional books are under contract and will appear in print by 2014. As author or co-author, he has written\u00a0Zones of Instability: Literature, Postcolonialism and the Nation <\/em>(2003),\u00a0Popular Culture: A User\u2019s Guide <\/em>(2003, 2nd\u00a0ed. 2009, 3rd\u00a0ed. 2013, co-written with Susie O\u2019Brien), and\u00a0After Globalization <\/em>(2011, co-written with Eric Cazdyn). His editorial projects include Pierre Bourdieu: Fieldwork in Culture <\/em>(2000),\u00a0The Johns Hopkins Guide to Literary Theory and Criticism <\/em>(2004),\u00a0Canadian Cultural Studies: A Reader <\/em>(2009),\u00a0Global-Local Consumption <\/em>(2010),\u00a0Cultural Autonomy: Frictions and Connections <\/em>(2010),\u00a0Cultural Theory: An Anthology <\/em>(Blackwell, 2010), and most recently, Contemporary Literary and Cultural Theory: The Johns Hopkins Guide <\/em>(2012).<\/p>\n Truscello, Michael: <\/strong>Michael Truscello is Assistant Professor of English and General Education at Mount Royal University in Calgary, Alberta. His publications have appeared in journals such as Postmodern Culture and Affinities<\/em>, and recently in anthologies such as Transgression 2.0: Media, Culture, and the Politics of a Digital Age <\/em>(Continuum, 2011) and Hit The Road, Jack: Essays on the Culture of the American Road <\/em>(McGill-Queen’s UP, forthcoming). He is currently working on a book about technology in the anarchist tradition, and a second book about art, infrastructure, and the new materialism.<\/p>\n Whiteman, Maria: <\/strong>Maria Whiteman is Assistant Professor of Drawing and Intermedia in Fine Arts at the University of Alberta. She teaches courses in mixed media, photography, video, drawing and installation art. Her current art practice explores themes such as art and science, relationships between industry, community and nature, and the place of animals in our cultural and social imaginary. In addition to her studio work, she conducts research in contemporary art theory and visual culture. She is currently working on\u00a0The Retreat<\/em> (co-editor; to be published by Autonomedia) and\u00a0Refiguring the Animal: Plasticity and Contemporary Art<\/em> (co-edited with Amanda Boetzkes; to be published by University of Minnesota Press). In 2011, Whiteman had a solo exhibition at Latitude 53 and she will be included in the 2013 Alberta Biennial at the Art Gallery of Alberta. Whiteman is a co-director of the 2012 Banff Research in Culture\/documenta 13 research residency.<\/p>\n Wilson, Sheena:<\/strong> Sheena Wilson is Assistant Professor at Campus Saint-Jean, University of Alberta.\u00a0 She holds a PhD in Comparative Literature with a specialization in Film and Media studies.\u00a0 She is interested in the relationship between the written word and the image as discursive referents in socio-political contexts.\u00a0 Her research\u00a0involves an interdisciplinary approach to the study of human\/civil rights abuses as they are represented in literature, film, and media. More recently, her interest in human rights and women\u2019s issues have crossed over into an analysis of the relationship between gendered and other forms of marginalization within context of global oil cultures. Dr Wilson is the co-director of the Petrocultures Research Group (petrocultures.com<\/a>) and in the fall of 2012 she co-hosted with Imre Szeman, an international conference titled Petrocultures: Oil, Energy, Culture<\/em>. Homepage:\u00a0sheenawilson.ca<\/a>\u00a0<\/div><\/p>\n This is Not a Pipeline: Thoughts on the Politico-Aesthetics of Oil<\/strong> | Ursula Biemann and Andrew Pendakis<\/p>\n R\u00c9SUM\u00c9 :\u00a0Cet entrevue a pris place entre Andrew Pendakis et la vid\u00e9aste Ursula Biemann. On essaie d\u2019y explorer les questions li\u00e9es \u00e0 l\u2019esth\u00e9tique de la culture p\u00e9troli\u00e8re: comment repr\u00e9senter le p\u00e9trole? Quels liens existe t\u2019il entre l\u2019industrie petroli\u00e8re et la confidentialit\u00e9? Quelles strat\u00e9gies faut-il \u00e9viter dans les tentatives de rendre visible la complexit\u00e9 de la r\u00e9alit\u00e9 p\u00e9troli\u00e8re?<\/p>\n Tarhands: A Messy Manifesto<\/strong> | Warren Cariou<\/p>\n R\u00c9SUM\u00c9 :\u00a0Cet article veut rendre visible la r\u00e9alit\u00e9 physique des complexes miniers des sables bitumineux de l\u2019Athabasca, au Canada. Les d\u00e9sinformations des entreprises et du gouvernement ont occult\u00e9 cette r\u00e9alit\u00e9, mais les citoyens ont aussi contribu\u00e9 \u00e0 cette occultation en \u00e9vitant de faire face soit aux cons\u00e9quences de leurs actions, soit \u00e0 l\u2019absence de celles-ci. On offre ici un collage des r\u00e9actions vari\u00e9es face \u00e0 la situation contemporaine de l\u2019\u00e9tat p\u00e9trolier canadien \u00e0 travers des photos des travaux d\u2019exploitation mini\u00e8re des sables bitumineux entrecoup\u00e9es de petits segments \u00e9crits, d\u2019aphorismes et de po\u00e8mes. \u00c9tant donn\u00e9 que cette situation est le produit d\u2019un aveuglement et d\u2019une n\u00e9gation \u00e0 l\u2019\u00e9chelle nationale qui stimule un comportement irrationnel, cet article met de c\u00f4t\u00e9 les arguments traditionnels raisonn\u00e9s sur la conservation ou la r\u00e9gulation et adopte le ton irrationnel comme dernier recours afin d\u2019en appeler \u00e0 l\u2019engagement d\u2019un public qui se d\u00e9tourne de la raison. Le ton et la structure de cet article font \u00e9cho au \u00ab\u00a0Manifeste du futurisme\u00a0\u00bb publi\u00e9 en 1909 par F. T. Marinetti, mais l\u2019intention est d\u2019indiquer la direction d\u2019un autre avenir que celui technologique et hyper-individualiste que Marinetti proposait. En adoptant l\u2019irrationnel afin d\u2019envisager la culture p\u00e9troli\u00e8re canadienne comme une manifestation de l\u2019inconscient national, j\u2019essaie de d\u00e9voiler quelques structures psychologiques qui emp\u00eachent les Canadiens de se rendre compte qu\u2019ils ont les mains sales.<\/p>\n A Scale That Exceeds Us: The BP Gulf Spill footage and Photographs of Edward Burtynsky<\/strong> | Lance Duerfahrd<\/p>\n R\u00c9SUM\u00c9 :\u00a0Notre fascination devant les images vid\u00e9os du d\u00e9versement p\u00e9trolier caus\u00e9 par British Petroleum (BP) dans le Golfe du Mexique en 2010 exprime le paradoxe voulant que nous n\u2019ayons aucun contr\u00f4le sur le progr\u00e8s technologique entrepris en notre nom, et qui est apparemment men\u00e9 dans notre int\u00e9r\u00eat et en fonction de notre demande. Ces images nous pr\u00e9sentent un mod\u00e8le pour les d\u00e9sastres de l\u2019avenir\u00a0: quelque chose a lieu sans que rien ne change. Ce portrait d\u2019un d\u00e9sastre sans progression et sans syntaxe n\u2019est pas quelque chose de nouveau; on l\u2019a vu sur sc\u00e8ne avec\u00a0En attendant Godot<\/em> et Fin de partie<\/em> de Samuel Beckett. En d\u00e9pit de cela, l\u2019art n\u2019a suscit\u00e9 qu\u2019une faible r\u00e9ponse \u00e0 la tr\u00e9pidation silencieuse caus\u00e9e par la vid\u00e9o BP. Une m\u00eame fascination est pr\u00e9sente dans notre r\u00e9ponse \u00e0 OIL<\/em> d\u2019Edward Burtynsky. Dans son travail photographique sur l\u2019industrie p\u00e9troli\u00e8re, Burtynsky retranche la dimension humaine, nous montrant ainsi l\u2019\u00e9normit\u00e9 seule (li\u00e9e \u00e0 la\u00a0 grandeur et au crime) de l\u2019industrie. Pourtant, contrairement \u00e0 la vid\u00e9o de BP, ces images amenuisent notre horreur devant l\u2019ampleur de ce qu\u2019elles montrent. Au lieu de r\u00e9agir \u00e0 l\u2019\u0153uvre de Burtynsky, on s\u2019apaise en appr\u00e9ciant le contr\u00f4le de l\u2019artiste sur son milieu et sur son langage symbolique.<\/p>\n Imagining the Tar Sands 1880 -1967 and Beyond<\/strong> | Mike Gismondi and Debra J. Davidson<\/p>\n R\u00c9SUM\u00c9 :\u00a0Au cours de l\u2019histoire albertaine, une s\u00e9rie de conventions visuelles ont contribu\u00e9 \u00e0 fa\u00e7onner l\u2019imaginaire canadien des ressources naturelles, l\u2019\u00e9mergence d\u2019une industrie p\u00e9troli\u00e8re non conventionnelle, et les pratiques d\u2019extraction mini\u00e8re. Nous proposons ici un regroupement d\u2019images d\u2019archives allant de 1880 jusqu\u2019\u00e0 l\u2019ouverture de Great Canadian Oil Sands<\/em> (Suncor) en 1967, afin de montrer le r\u00f4le de ces conventions visuelles dans plusieurs sph\u00e8res. Premi\u00e8rement dans la justification des soutiens gouvernementaux et publiques de l\u2019industrie d\u2019extraction et de raffinage. Ensuite dans la l\u00e9galisation des recherches sur la s\u00e9paration du p\u00e9trole et des sables. Enfin dans le maintien id\u00e9ologique du financement public pour le d\u00e9veloppement de cette industrie d\u2019exception au sein des ressources canadiennes. En conclusion, nous indiquons que m\u00eame aujourd\u2019hui les entreprises et les faiseurs d\u2019opinions politiques utilisent plusieurs \u00e9l\u00e9ments de ces premi\u00e8res m\u00e9thodes conceptuelles normatives. Ils le font pour \u00e9mousser les critiques contemporaines en faveur des compromis social et \u00e9cologique, et ultimement pour l\u00e9gitimer l\u2019industrie d\u2019extraction p\u00e9troli\u00e8re non conventionnelle dans l\u2019avenir.<\/p>\n Rethinking Bitumen: from \u201cBullshit\u201d to a \u201cMatter of Concern\u201d<\/strong> | Jonathan Gordon<\/p>\n R\u00c9SUM\u00c9 :\u00a0Quel est le discours actuel sur le bitume et comment pourrait-il \u00eatre chang\u00e9? Le philosophe Harry Frankfurt d\u00e9finit comme \u00ab\u00a0connerie\u00a0\u00bb toute tentative de persuader qui \u00ab n\u2019a aucun lien \u00e0 la v\u00e9rit\u00e9\u00a0\u00bb [Notre Traduction] (Frankfurt).\u00a0 Dans cet article, je soutiens que les d\u00e9bats r\u00e9cents sur l\u2019extraction du bitume ont beaucoup \u00e0 voir avec ce que Frankfurt associe aux \u00ab\u00a0conneries\u00a0\u00bb. De plus, j\u2019entends montrer que la rupture de ces d\u00e9bats avec la question de la v\u00e9rit\u00e9 trouve son origine dans ce que Bruno Latour appelle des \u00ab \u00e9tats de fait\u00a0\u00bb [Notre Traduction] (\u00ab\u00a0Critique\u00a0\u00bb 226). Des tentatives de persuader se construisent sur ces \u00ab\u00a0\u00e9tats de fait\u00a0\u00bb \u2013on peut d\u00e9boulonner celles-ci comme id\u00e9ologiques sur tous les fronts\u2013, alors que c\u2019est la conscience \u00e9cologique de ce que Latour appelle des \u00ab\u00a0\u00e9tats d\u2019inqui\u00e9tude\u00a0\u00bb qui devrait constituer le fondement de l\u2019argument. Cet article examine la pi\u00e8ce de th\u00e9\u00e2tre Fort Mac<\/em> de Marc Prescott comme exemple d\u2019une \u0153uvre litt\u00e9raire qui cr\u00e9e l\u2019occasion de comprendre le bitume du point de vue \u00e9cologique afin de partager des inqui\u00e9tudes li\u00e9es \u00e0 cette dimension, puis de changer les valeurs en jeu et parvenir enfin \u00e0 concevoir le bitume comme un \u00ab\u00a0\u00e9tats d\u2019inqui\u00e9tude\u00a0\u00bb.<\/p>\n Everything\u2019s Gone Green: The Environment of BP\u2019s Narrative<\/strong> | Peter Hitchcock<\/p>\n R\u00c9SUM\u00c9 :\u00a0Cet article examine un ph\u00e9nom\u00e8ne particuli\u00e8rement irritant dans le domaine de l\u2019environnementalisme, \u00e0 savoir l\u2019internationalisation \u00ab\u00a0verte\u00a0\u00bb d\u2019un conglom\u00e9rat p\u00e9trolier. Au lieu de rejeter ce type d\u2019actions comme un cynisme d\u2019entreprise, on sugg\u00e8re ici qu\u2019il faut consid\u00e9rer les mod\u00e8les narratifs en jeu dans ces initiatives qui \u00e9tablissent une connexion entre l\u2019exploitation de la modernit\u00e9 et une logique parabolique. L\u2019adoption par BP d\u2019une perspective verte est per\u00e7ue comme un d\u00e9veloppement plut\u00f4t qu\u2019une infraction de son existence sociale; c\u2019est la raison pour laquelle, m\u00eame apr\u00e8s le d\u00e9sastre de Deepwater Horizon, le d\u00e9sir de BP \u00ab\u00a0d\u2019aller au-del\u00e0 du p\u00e9trole \u00bb [\u00ab\u00a0Beyond Petroleum<\/em> \u00bb] exige une extraction p\u00e9troli\u00e8re encore plus consid\u00e9rable.<\/p>\n Resistance is Futile? Enduring Hegemony Despite Ideological Challenge<\/strong> | Tracy Lassiter<\/p>\n R\u00c9SUM\u00c9 :\u00a0Le discours h\u00e9g\u00e9monique d\u00e9crit l\u2019usage des combustibles fossiles comme \u00ab\u00a0normal\u00a0\u00bb ou m\u00eame souhaitable, malgr\u00e9 les effets d\u00e9vastateurs de leur extraction. Actuellement les plus pires exemples proviennent de l\u2019industrie p\u00e9troli\u00e8re. Toutefois les efforts afin de d\u00e9fier ce discours et son pouvoir h\u00e9g\u00e9monique suscitent en r\u00e9alit\u00e9 d\u2019autres formes d\u2019h\u00e9g\u00e9monie. Cet article examine quelques-unes de ces instances \u00e0 travers le documentaire\u00a0Crude<\/em> de Joe Berlinger, paru en 2009. Crude<\/em> montre le proc\u00e8s intent\u00e9 par quelques 30 000 \u00c9quatoriens contre Chevron. On peut associer le pouvoir h\u00e9g\u00e9monique contre lequel ceux-ci luttent, c\u2019est-\u00e0-dire celui de l\u2019entreprise p\u00e9troli\u00e8re multinationale, avec un autre pouvoir h\u00e9g\u00e9monique\u00a0: celui du blanc, de l\u2019homme du privil\u00e8ge aristocratique. Ironiquement, le film montre comment les privil\u00e8ges de l\u2019aristocratie de l\u2019Ouest sont mis de l\u2019avant pour essayer de r\u00e9soudre les probl\u00e8mes des \u00c9quatoriens. Cet article s\u2019inspire du texte canonique \u00ab\u00a0Can the Subaltern Speak\u00a0\u00bb de Gayatri Spivak, ainsi que du concept des appareils id\u00e9ologiques de Louis Althusser, afin de soutenir son hypoth\u00e8se.<\/p>\n Reframing the Canadian Oil Sands<\/strong> |\u00a0Merle Patchett – Curatorial Essay AND\u00a0Andriko J. Lozowy – Photographs and Creative Text<\/p>\n R\u00c9SUM\u00c9 :\u00a0Cet article est une collaboration entre le photographe Andriko Lozowy et la g\u00e9ographe culturelle Merle Patchett. La photographie et la th\u00e9orie photographique y sont mises \u00e0 profit afin de susciter un engagement visuel significatif des points de vue politique et critique avec le plus important projet p\u00e9trolier \u00e0 ce jour. Depuis les photographies a\u00e9riennes de la r\u00e9gion des sables bitumineux par Edward Burtynsky, cette mani\u00e8re de photographier \u00e0 distance les zones d\u2019exploitation a connu une popularit\u00e9 croissante. Par cons\u00e9quent la culture visuelle dominante de la production p\u00e9troli\u00e8re de Fort McMurray s\u2019est mise \u00e0 vouloir invalider ou effacer cette repr\u00e9sentation. Il y a cinq ans, Lozowy a entam\u00e9 un projet intitul\u00e9 Where is Fort McMurray?<\/em> qui a pour but d\u2019explorer et d\u2019utiliser cette id\u00e9e d\u2019effacement en essayant de capturer les paysages mobiles (et d\u00e9mobilis\u00e9s) des sables bitumineux albertains \u00e0 partir des bords de route. Patchett et Lozowy ont organis\u00e9 une exposition des photos de Lozowy pour le pr\u00e9sent num\u00e9ro d\u2019Imaginations<\/em>. Cette exposition pr\u00e9sente une vue alternative \u2013au niveau du sol\u2013 des sites de production p\u00e9troli\u00e8re. \u00c0 travers les images de Lozowy et les textes de Patchett, on retrouve le potentiel perturbateur de l\u2019image et la capacit\u00e9 de la photographie de neutraliser et de stimuler \u00e0 la fois l\u2019engagement politique face aux sables bitumineux canadiens.<\/p>\n Unconventional Oil and the Gift of the Undulating Peak<\/strong> | Allan Stoekl<\/p>\n R\u00c9SUM\u00c9 :\u00a0Dans la premi\u00e8re partie de cet article, j\u2019examine les raisons pour lesquelles les discours sur la probabilit\u00e9 d\u2019un imminent \u00ab\u00a0pic p\u00e9trolier\u00a0\u00bb sont pass\u00e9s depuis peu \u00e0 l\u2019arri\u00e8re-plan. Je sugg\u00e8re que, \u00e0 cause d\u2019une demande en baisse pendant la r\u00e9cession, de m\u00eame qu\u2019en raison du d\u00e9veloppement du gaz naturel et des sources de p\u00e9trole \u00ab\u00a0peu conventionnelles\u00a0\u00bb, le \u00ab\u00a0co\u00fbt\u00a0\u00bb des combustibles connait des augmentations non seulement en mati\u00e8re de prix, mais aussi en mati\u00e8re des co\u00fbts \u00ab\u00a0ext\u00e9rieurs\u00a0\u00bb cach\u00e9s, ce qui implique une autre forme de r\u00e9cession provoqu\u00e9e par des prix trop \u00e9lev\u00e9s, par la pollution, par les changements climatiques, etc. De plus, je soutiens qu\u2019une mesure pr\u00e9cise de ces co\u00fbts ext\u00e9rieurs est peu envisageable. L\u2019exemple de la production \u00ab\u00a0peu conventionnelle\u00a0\u00bb du combustible dans la r\u00e9gion des sables p\u00e9trolif\u00e8res de l\u2019Alberta illustre cette proposition. Comment, par exemple, pr\u00e9voir les cons\u00e9quences d\u2019un nuage mobile d\u2019arsenic souterrain qui pourrait ne remonter \u00e0 la surface que dans une centaine d\u2019ann\u00e9es? Ces facteurs d\u2019ind\u00e9termination rendent impossible toute pr\u00e9vision de la \u00ab\u00a0durabilit\u00e9 de l\u2019environnement \u00bb, sans pourtant nous d\u00e9courager de continuer \u00e0 tenter de telles pr\u00e9visions. En dernier lieu, je propose que notre subjectivit\u00e9 de consommateurs apparemment dou\u00e9s de libre-arbitre est elle-m\u00eame une cons\u00e9quence de l\u2019action du p\u00e9trole\u00a0: celui-ci nous interpelle comme sujets. Face \u00e0 cela une r\u00e9action envisageable pourrait \u00eatre la production d\u2019un mod\u00e8le actantiel diff\u00e8rent, dans lequel on remplacerait le calcul par le don.<\/p>\n Oil Imag(e)inaries: Critical Realism and the Oil Sands<\/strong> | Imre Szeman and Maria Whiteman<\/p>\n R\u00c9SUM\u00c9 :\u00a0Ce photoreportage constitue une premi\u00e8re tentative de mettre en image le pouvoir et la dynamique du capital \u00e0 Fort McMurray, en Alberta, o\u00f9 se trouve le site principal d\u2019extraction p\u00e9troli\u00e8re qui est au c\u0153ur de l\u2019\u00e9conomie contemporaine canadienne.\u00a0L\u2019approche que nous proposons \u00e0 cette fin est celle du \u00ab\u00a0r\u00e9alisme critique\u00a0\u00bb mis de l\u2019avant par l\u2019artiste et critique Allan Sekula. L\u2019article se divise en deux parties. Premi\u00e8rement, nous d\u00e9crivons les caract\u00e9ristiques du r\u00e9alisme critique de Sekula en mettant l\u2019accent sur son emploi de la pratique \u00e9sthetico-politique dans son livre\u00a0Fish Story<\/em> (1991); ce dernier renverse les discours dominants de la globalisation per\u00e7ue comme processus immat\u00e9riel irrepr\u00e9sentable en se concentrant sur le transport des produits commerciaux sur les bateaux porte-conteneurs. Deuxi\u00e8mement, nous tentons de pr\u00e9senter une autre dimension mat\u00e9rielle m\u00e9connue de la globalisation\u00a0: notre d\u00e9pendance vis-\u00e0-vis du p\u00e9trole et de ses sous-produits. Au lieu de mettre le site d\u2019extraction au premier plan, notre photoreportage se concentre sur les effets du p\u00e9trole sur la vie et sur le travail \u00e0 Fort McMurray afin de mieux comprendre les d\u00e9fis socio-politiques de la ville et les implications au sens plus large du p\u00e9trole sur la politique, la culture et les repr\u00e9sentations contemporaines.<\/p>\n The New Topographics, Dark Ecology, and the Energy Infrastructure of Nations: Considering Agency in the Photographs of Edward Burtynsky and Mitch Epstein from a Post-Anarchist Perspective<\/strong> | Michael Truscello<\/p>\n R\u00c9SUM\u00c9 :\u00a0Je propose dans cet article que l\u2019esth\u00e9tique d\u2019Edward Burtynsky, de m\u00eame que la nouvelle esth\u00e9tique topographique dont elle est issue, sont les traces d\u2019un empire en ruines qui invite \u00e0 un nouveau type de sociabilit\u00e9 plut\u00f4t qu\u2019\u00e0 une lecture apolitique. \u00c0 l\u2019aide d\u2019une approche analytique post-anarchiste, je d\u00e9montre la mani\u00e8re dont son r\u00e9cent recueil de photos Oil<\/em>, de m\u00eame que les images de Mitch Epstien dans\u00a0American Power<\/em>, produisent une esth\u00e9tique de ce qu\u2019Yves Abrioux appelle \u00ab\u00a0l\u2019am\u00e9nagement paysager intensif\u00a0\u00bb, c\u2019est-\u00e0-dire \u00ab\u00a0l\u2019am\u00e9nagement paysager comme style, comme plan d\u2019espacement social de l\u2019avenir\u00a0\u00bb [Notre Traduction] (264). Burtynsky et Epstein r\u00e9ussissent ainsi \u00e0\u00a0\u00ab inventer des relations, au lieu d\u2019affirmer un contr\u00f4le id\u00e9ologique ou culturel\u00a0\u00bb [Notre Traduction].\u00a0 Par cons\u00e9quent, l\u2019importance de l\u2019extraction \u00e9nerg\u00e9tique et du transport se trouve dans leur capacit\u00e9 d\u2019\u00eatre des \u00ab\u00a0endroits du passage\u00a0\u00bb (terme emprunt\u00e9 \u00e0 Deleuze et Guattari), les endroits d\u2019une rencontre entre la sauvagerie et la civilisation qui transforment le paysage en quelque chose d\u2019autre. L\u2019esth\u00e9tique que j\u2018emploie ici a beaucoup \u00e0 voir avec les th\u00e9ories de \u00ab\u00a0l\u2019\u00e9cologie obscure\u00a0\u00bb de Timothy Mortons et avec le \u00ab\u00a0sentiment \u00e9cologique\u00a0\u00bb de Stephanie LeManager. En effet les deux tentent de comprendre les connections affectives entre l\u2019infrastructure du capitalisme p\u00e9trolier et l\u2019\u00e9cologie (\u201cPetro-Melancholia\u201d 27).<\/p>\n Banita, Georgiana\u00a0: <\/strong>Dr. Georgiana Banita est professeure adjointe de litt\u00e9rature et m\u00e9dias nord-am\u00e9ricains \u00e0 l\u2019Universit\u00e9 de Bamberg. Elle a obtenu le titre de chercheure honoraire de l\u2019Universit\u00e9 de Sydney dans le cadre du Centre des \u00e9tudes \u00e9tatsuniennes. Elle est l\u2019auteure du livre Plotting Justice: Narrative Ethics and Literary Culture after 9\/11<\/em> (Nebraska 2012), et elle a beaucoup publi\u00e9 sur la petrofiction et sur la globalisation apr\u00e8s le 11 septembre, ainsi que sur l\u2019histoire p\u00e9troli\u00e8re am\u00e9ricaine et l\u2019esth\u00e9tique du p\u00e9trole dans les films de Michelangelo Antonioni et de Bernardo Bertolucci.<\/p>\n Biemann, Ursula\u00a0:<\/strong> Ursula Biemann est une vid\u00e9aste et th\u00e9oricienne bas\u00e9e \u00e0 Zurich, en Suisse. Elle a produit une \u0153uvre consid\u00e9rable sur la migration, la technologie, et la g\u00e9ographie des ressources naturelles. Elle a \u00e9t\u00e9 conservatrice de projets comme \u00ab\u00a0The Maghreb Connection\u00a0\u00bb (2006), \u00ab\u00a0Sahara Chronicle\u00a0\u00bb (2006-2009), \u00ab\u00a0Egyptian Chemistry\u00a0\u00bb (2012), ainsi que d\u2019une plateforme m\u00e9diatique collaborative intitul\u00e9e \u00ab\u00a0Supply Lines\u00a0\u00bb (2012). Parmi ses nombreuses publications, on trouve Stuff It – the video essay in the digital age<\/em> (2003), Geography and the Politics of Mobility<\/em> (2003), ainsi qu\u2019une monographie sur son travail de vid\u00e9aste intitul\u00e9e Mission Reports<\/em> (2008).\u00a0Biemann a beaucoup collabor\u00e9 avec des universitaires et des praticiens, parmi lesquels des anthropologues, des th\u00e9oriciens culturels, des membres d\u2019ONGs, et des architectes. Ses essais vid\u00e9o touchent un public diversifi\u00e9 dans les cadres p\u00e9dagogique et populaire \u00e0 travers des projections en festivals, des expositions d\u2019art, et des colloques d\u2019activistes. Elle est titulaire d\u2019un doctorat honoris causa<\/em> en lettres et sciences humaines de l\u2019Universit\u00e9 d\u2019Ume\u00e5, en Su\u00e8de. Elle est actuellement chercheure dans le cadre de l\u2019Institut de la th\u00e9orie critique \u00e0 l\u2019\u00c9cole sup\u00e9rieure des arts de Zurich. www.geobodies.org<\/a><\/p>\n Cariou, Warren\u00a0:<\/strong> Warren Cariou est n\u00e9 \u00e0 Meadow Lake, en Saskatchewan, d\u2019une famille d\u2019origines M\u00e9tis et europ\u00e9enne. Il est auteur de nombreuses publications sur la litt\u00e9rature autochtone canadienne, d\u2019un recueil des novellas<\/em> intitul\u00e9 The Exalted Company of Roadside Martyr<\/em>, et d\u2019un essai prim\u00e9 d\u2019histoire culturelle\u00a0intitul\u00e9\u00a0Lake of the Prairies.<\/em> Il est \u00e9galement co-r\u00e9alisateur et co-producteur de deux films sur les peuples autochtones de la r\u00e9gion des sables bitumineux de l\u2019Ouest canadien, Overburden<\/em> et Land of Oil and Water<\/em>. Plus r\u00e9cemment, il a \u00e9crit et co\u00e9dit\u00e9 avec Niigaanwewidam James Sinclair le livre Manitowapow: Aboriginal Writings from the Land of Water.<\/em> Il est titulaire d\u2019une chaire de recherche du Canada en cr\u00e9ation litt\u00e9raire et dirige le Book Reviews<\/h4>\n
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