ABSTRACT
In my conclusion, I return to the key gestures of the empirical chapters and suggest what a focus on lures can offer to elemental aesthetics and politics. Through a consideration of works by several artists and artistic collectives, I also suggest how elemental lures operate in the non-aerial elements. Then I make a call for the elemental geohumanities: a body of thought and practice spanning geography and the arts in which elemental materials, histories and media are the focus of experiment and critique. I suggest that the growth of the elemental geohumanities may contribute to analyses of politics and difference and productively unsettle the inherited material ontologies of geography and related disciplines.
