In a 1970s interview, the artist and writer Robert Smithson attempted to explain the philosophy behind his mixed-media works of art incorporating rocks, debris, photos, and landscapes: “If you pile something up, all you are faced with is a pile of materials. If you follow the scale of the earth, everything is miniscule. The idea was to set up the scale.” Since then, artistic engagement with the Earth as a geological material reality and background has only increased, alongside the intensification of the integration of peoples, ideas, technologies, and capital across the planet, as well as the growing awareness of humanity’s impact on Earth itself. This panel seeks to map out the current state of art that takes the Earth itself as its subject and context. How do artists, writers, artists, musicians, and filmmakers represent the vast distances and timeframes fundamental to any geological perspective? What happens to aesthetic categories such as realism and the speculative when confronted with such ostensibly unrepresentable phenomena. How has human rearrangement of the crust of the Earth—from concrete highways and chrome buildings to an integrated global media landscape, the material basis of which consists of materials mined in some of the world’s most exploited areas—changed how we think, see, and feel? And, finally, how has the idea of what Nikola Tesla thought of as the Earth’s resonance been articulated in artworks and cultural productions from musicians (such as Sun Ra and La Monte Young) to writers (such as N. K. Jemisin and M. F. Beal), and beyond. The panel invites papers from multiple aesthetic disciplines, time periods, and language areas.