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Recent Publications 


  • Najdowski, R, & Palmer, D. (forthcoming 2023) ‘Speculative Visions: Machine Learning, Photography and the Climate Crisis’, The Climate Catastrophe: A Creative and Critical Survival Guide, London: Intellect, 2023 

  • Samartzis, P (2022) ‘Atmospheres and Disturbances: Mapping the eco-acoustics of Jungfraujoch’ for Sound in the construction of knowledge, practices and representations in the Alpine space, Editions Antipodes, Lausanne  

  • Samartzis, P (forthcoming 2022) ‘A Melting Landscape: Mapping the eco-acoustics of the Swiss Alps’ for The World We Want: Dystopian and Utopian Impulses in Art Making, Intellect, Bristol  

  • Samartzis, P (2022) ‘Wandering in Someone Else’s Garden’ for A Guide to Experimental Fieldwork for Future Ecologies, Onomatopee Projects, Eindhoven 


  • Tytler, C. (2022). We Found a Body: The Intrabody of Human, Technology, Narrative and Environment as Postqualitative Inquiry. Australian Journal of Environmental Education, 1-9.  https://doi.org/10.1017/aee.2021.32

  • McCracken, C (2021) ‘Dystopias for Discourse: the role of the artist in rapidly reconfiguring city’, Global Discourse: An interdisciplinary journal of current affairs, Volume 11, Numbers 1-2, February 2021, pp. 67-78.  

  • Williams, L (2021)     ‘Visualising Anthropocene Extinctions: Mapping Affect in the Works of Naeemeh Naeemaei’ Animal Studies Journal 10:2, 57-89. UN Sustainable Development Goals 11, 13, 15

  • Jones, O, Rigby, K. & Williams, L (2020)  ‘Everyday Ecocide, Toxic Dwelling, and the Inability to Mourn: A Speculative Response to Geographies of Extinction’ Environmental Humanities Duke University Press, 12:1, 388-405. UN Sustainable Development Goals 11, 12, 13

  • Williams, L (2019) ‘Deep time & myriad ecosystems: urban imaginaries and unstable planetary aesthetics’ The Aesthetics of the Undersea ‘Edited by Margaret Chen and Killian Quigley, Routledge, 167 – 179. UN Sustainable Development Goals 11, 13, 14

  • Williams, L (2018)     ‘Art and the Cultural Transmission of Globalization’  The Oxford Handbook of Global Studies Oxford University Press, 493-512. UN Sustainable Development Goals 10, 11, 13, 16

  • Duxbury, L. 2017. ‘I just had to do it’. In: Doctoral Research in Art, Australian Scholarly Publishing, Melbourne, Australia

  • Williams, L. (2017) ‘17th Century concepts of the nonhuman world – A nascent Romanticism?’ Green Letters (UK) Vol.21, Issue 2, 122-137. (ISSN Print: 1468-8417 Online: 2168-1414) UN Sustainable Development Goal 13

  • Williams, L (2016) ‘The Anthropocene & the Long 17th Century 1550-1750’ The Cultural History of Climate Change, Eds. Bristow, T. & Ford, T.  Routledge, London and New York, 87-107. (ISBN 978-1-138-83816-1) UN Sustainable Development Goals 11, 13

  • Hjorth, L; Pink, S; Sharp: K; Williams, L. (2016) Screen Ecologies: Art, Screen Culture and the Environment in the Asia-Pacific Region MIT Press, Boston Mass. UN Sustainable Development Goals 11, 13

  • Williams, L (2014) ‘Reconfiguring Place: Art and the Global Imaginary’ The SAGE Handbook of Globalization  Ed. M. Steger, P. Battersby, J. Siracusa, London, Sage Publications, 463-480.  (ISBN 9781446256220). UN Sustainable Development Goals 11, 13

  • Nankin, Harry (2013) ‘Minds in the Cave: Insects as Metaphors for Place and Loss’, Australasian Journal of Ecocriticism and Cultural Ecology (AJE). V 3, pp 1-15

  • Duxbury, L. 2012, ‘Opening the Door: Portals to good supervision of creative practice-led research’. In: Supervising Practices for Postgraduate Research in Art, Architecture and Design, Sense Publishers, Rotterdam, the Netherlands, pp. 15-23.

  • Duxbury, L 2012, ‘Breath-taking: creating artistic visualisations of atmospheric phenomena to evoke responses to climate change’, Local Global Journal, vol. 10, pp. 34-45.

  • Duxbury, L 2010, ‘A Change in the Climate: New interpretations and perceptions of climate change through artistic interventions and representations’, Weather, Climate and Society, vol. 2, no. 4, pp. 294-299.

Acknowledgement of Country


AEGIS acknowledges the people of the Woi wurrung and Boon wurrung language groups of the Kulin Nation on whose unceded lands we work. We respectfully acknowledge their Elders, past and present. We also acknowledge the Traditional Custodians of the lands and waters across Australia and its Dreaming.