All these premises having, as I think, been clearly made out, it is impossible that the rulers now on earth should make any benefit, or derive any the least shadow of authority from that, which is held to be the fountain of all power, Adam's private dominion and paternal jurisdiction; so that he that will not give just occasion to think that all government in the world is the product only of force and violence, and that men live together by no other rules but that of beasts, where the strongest carries it, and so lay a foundation for perpetual disorder and mischief, tumult, sedition and rebellion, (things that the followers of that hypothesis so loudly cry out against) must of necessity find out another rise of government, another original of political power, and another way of designing and knowing the persons that have it, than what Sir Robert Filmer hath taught us.

Two Treatises of Government.

The End of History and the Last Man

Between Facts and Norms: Contributions to a Discourse Theory of Law and Democracy

Merchants of Doubt. How a Handful of Scientists Obscured the Truth on Issues from Tobacco Smoke to Global Warming

Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual process through a multimedia installation that also reflects upon temporality, art history, ecology and science. Introduced with a time-lapse video of weather patterns captured by web cam over the course of an entire year, atmospheric effects assume the quality of translucent washes that blur distinctions between opacity and transparency, painting and technology. Aerial views of built environments set against expansive cityscapes present essential imagery for large-format digital woodblock prints realized in monochromatic tonals and saturated grids of yellow and blazing orange. Some combine undulating wood grain patterns with pinhole perforations to admit light; others consist of diaphanous walnut stains applied to hand-crafted paper, a self-referential allusion to art’s planarity and permeable membrane. The evanescence of these views is echoed in pristine impressions of filtered dust and shimmering milkweed assemblages contained in Plexiglas light boxes. Known as Asclepias, milkweed is an herbaceous flower named by Carl Linnaeus after Asclepius, the Greek god of healing, due to its efficacious medicinal powers. Like the weather, the milkweed’s reflective silver filaments respond to shifting currents of air paired with gently wafted treetops projected in the viewing room. Here pearls of light corresponding to the spheres and pinpricks of the prints on the walls float randomly over the fictitious frame of a cubical vitrine. Orbs appear and disappear amid nocturnal shadows as figments of the imagination, their languid dispersion eliciting not-ofthis-world sensations of suspension, ascent and transcendence. This joined to the mesmerizing stillness of a gallery pierced occasionally by the sound of supersonic aircraft, a reminder of the machine in the garden. Beyond, the history of landscape photography and the Romantic sublime are encoded in works titled “Old Stand” that render minuscule figures of stationary box photographers against the grandeur of ice-capped Rockies. In some of the works the human figure is effaced as a historical memory through exquisitely modulated rubbings whose unbounded spatiality contrasts with the reflexive interiority of the viewing room. Campbell’s incandescent vision of nature asserts the phenomenal power of art to elevate the human spirit in the presence of heart-stirring beauty. It dares to reaffirm the timeless union between the material and immaterial substance of the universe, between human life and the ephemera of the natural world. f i l m

This Changes Everything: Capitalism vs. the Climate

The rapid expansion of the oil and gas industry, driven by intentional energy policy decisions which unlock growth, represents a distinct threat to community safety. In response to this encroaching...

Grassroots resistance to energy project encroachment: Analyzing environmental mobilization against the Keystone XL Pipeline

This study evaluated the sampling methods and sample populations used in all U.S.-based survey and experimental mass communication studies published between 2000 and 2014 in six major journals (N =...

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Sampling Methods and Sample Populations in Quantitative Mass Communication Research Studies: A 15-Year Census of Six Journals

Growing demands for irrigation water are tapping groundwater supplies beyond their natural rates of replenishment, which has profound implications for sustaining communities in semiarid regions. This paper investigates the drought-time watering practices of Kansas well owners, a key social group whose water consumption is pivotal to prolonging groundwater formations. I address two questions: Do well owners and non-well owners have different responses to droughts? Is the relationship between water supply awareness and water conservation during droughts moderated by water supply infrastructure? To answer these questions, I constructed one of the only datasets of well owners used in the social sciences by surveying well owners and non-well owners throughout Kansas (n = 864). My findings reveal that well ownership is significantly correlated to increased watering during droughts and water conservation varies among those who own different types of wells. Furthermore, increased levels of water literacy ...

Brock Ternes

Papers

Grassroots resistance to energy project encroachment: Analyzing environmental mobilization against the Keystone XL Pipeline

Sampling Methods and Sample Populations in Quantitative Mass Communication Research Studies: A 15-Year Census of Six Journals

Saving for a dry day: investigating well ownership and watering practices during droughts

Who Are the “Masses” in Mass Communication Research? Exploring Participants’ Demographic Characteristics Between 2000 and 2014