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The words 'Anthropocene animals' conjure pictures of dead albatrosses' bodies filled with plastic fragments, polar bears adrift on melting ice sheets, solitary elephants in the savannah. Suspended between the impersonal nature of the Great Extinction and the singularity of exotic individuals, these creatures appear remote, disconnected from us. But animals in the Anthropocene are not simply 'out there.' Threatening and threatened, they populate cities and countryside, often trapped in industrial farms, zoos, labs. Among them, there are humans, too. Italo Calvino's Animals explores Anthropocene animals through the visionary eyes of a classic modern author. In Calvino's stories, ants, cats, chickens, rabbits, gorillas, and other critters emerge as complex subjects and inhabitants of a world under siege. Beside them, another figure appears in the mirror: that of an anthropos without a capital A, epitome of subaltern humans with their challenges and inequalities, a companion species on

Humans may live in the Anthropocene, but this does not affect all in the same way. How would the Anthropocene look if, instead of searching its traces in the geosphere, researchers would look for them in the organosphere, in the ecologies of humans in their entanglements with the environment? Looking at this embodied stratigraphy of power and toxicity, more than the Anthropocene, we will discover the Wasteocene. The imposition of wasting relationships on subaltern human and more-than-human communities implies the construction of toxic ecologies made of contaminating substances and narratives. While official accounts have systematically erased any trace of those wasting relationships, another kind of narrative has been written in flesh, blood, and cells. Traveling between Naples (Italy) and Agbogbloshie (Ghana), science fiction and epidemic outbreaks, this Element will take the readers into the bowels of the Wasteocene, but it will also indicate the commoning practices which are

The distinction between humans and the natural world is an artefact and more a matter of linguistic communication than a conceptual separation. This Element proposes ecosemiotics as an epistemological tool to better understand the relationship between human and natural processes. Ecosemiotics with its affinity to the humanities, is presented here as the best disciplinary approach for interpreting complex environmental conditions for a broad audience, across a multitude of temporal and spatial scales. It is proposed as an intellectual bridge between divergent sciences to incorporate within a unique framework different paradigms. The ecosemiotic paradigm helps to explain how organisms interact with their external environments using mechanisms common to all living beings that capture external information and matter for internal usage. This paradigm can be applied in all the circumstances where a living being (man, animal, plant, fungi, etc.) performs processes to stay alive.

In recent years, the word 'virus' has lost its biological perimeter of reference to acquire a much broader – could say 'paradigmatic' – meaning. The term 'virus' can be seen as a key word or an explanatory model also for processes that go beyond the infectious sphere. Every event appears to have a viral character: from the way information is transmitted to the processes of cultural globalization, from the impact of human beings on the planet to the subversion of ecosystems, from pandemic risks to the demographic increase on the planet. This seems to be indeed the Age of the Virus. Its model can be applied to most of the phenomena that characterize the twenty-first. Its profile – its looming and invisible nature, its ability to use other people's resources to spread and to transform into a dangerous doppelganger – is perfect to represent the fears of the contemporary age.

The aim of this Element is to provide a novel framework for gaining a critical grasp on the present situation concerning animals. It offers reflections on resisting the established order as well as suggestions on what forms alternative, pro-animal ways of life might take. The central argument of the book is that the search for an anthropological difference - that is, for a marker of human uniqueness determined by way of a sharp humanimal distinction - should be set aside. In place of this traditional way of differentiating human beings from animals, the author sketches an alternative way of thinking and living in relation to animals based on indistinction, a concept that points toward the unexpected and profound ways in which human beings share in animal life, death, and potentiality. The implications of this approach are then examined in view of practical and theoretical discussions in the environmental humanities and related fields.

Petroglyphic rock art in three valleys of Mongolia's Altai Mountains reveals the anatomy of deep time at the boundary between Central and North Asia. Inscribed over a period of twelve millennia, its subject matter, styles, and manner of execution reflect the constraints of changing geology, climate, and vegetation. These valleys were created and shaped by ancient glaciers. Analysis of their physical environment, projected from the deep past to the present, begins to explain the rhythm of cultural manifestations: where rock art appears, when it disappears, and why. The material and this remote arena offer an ideal laboratory to study the intersection of prehistoric culture and paleoenvironment.

What can a study of antiquity contribute to the interdisciplinary paradigm of the environmental humanities? And how does this recent paradigm influence the way we perceive human-'nature' interactions in pre-modernity? By asking these and a number of related questions, this Element aims to show why the ancient tradition still matters in the Anthropocene. Offering new perspectives to think about what directions the ecological turn could take in classical studies, it revisits old material, including ancient Greek religion and mythology, with central concepts of contemporary environmental theory. It also critically engages with forms of classical reception in current debates, arguing that ancient ecological knowledge is a powerful resource for creating alternative world views.