![Fig. 1. 'The book seems like a kind of almanac pertaining to certain historical phenomena,' from Tim Harrington and Robert Sullivan, Gowanus Redux, 7/17/2012.](https://i0.wp.com/openrivers.lib.umn.edu/wp-content/uploads/2016/07/Fig1_IMGP9881.jpg?fit=330%2C248&ssl=1)
Aesthetic Criticism
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![Fig. 1. 'The book seems like a kind of almanac pertaining to certain historical phenomena,' from Tim Harrington and Robert Sullivan, Gowanus Redux, 7/17/2012.](https://i0.wp.com/openrivers.lib.umn.edu/wp-content/uploads/2016/07/Fig1_IMGP9881.jpg?fit=330%2C248&ssl=1)
![Ursula Biemann, video still from Deep Weather (2013). Aerial shot of the Northern Alberta oil sands. Courtesy of the artist.](https://i0.wp.com/openrivers.lib.umn.edu/wp-content/uploads/2016/07/1_Biemann_DW03_acidcoulds.jpg?fit=330%2C186&ssl=1)
Liquid Economies, Networks of the Anthropocene
![Seth Eastman, Distant View of Fort Snelling, 1847-49. Watercolor.](https://i0.wp.com/openrivers.lib.umn.edu/wp-content/uploads/2016/07/AV1991-85-30.jpg?fit=330%2C205&ssl=1)
Guest Editors’ Introduction to Issue Three
Water is a slippery subject: its visual and material properties spur intellectual inquiry and spiritual reverie; its fluctuating form repels categorization and confounds claims of ownership as it crosses property lines and national borders; and river and ocean currents facilitate commercial exchange along with environmental exploitation.
![Detail of 'Otokaheya' (In the Beginning), quilted fabric, Gwen Westerman, artist. Image courtesy of the artist.](https://i0.wp.com/openrivers.lib.umn.edu/wp-content/uploads/2016/07/Otokaheya-1-e1469586030318.jpg?fit=330%2C249&ssl=1)