“Nothing ever ends.” These three small words rang loudly through Brooklyn’s Rule of Thirds last night as Atmos Editor-in-chief Willow Defebaugh welcomed creatives, scientists, contributors, and members of the Atmos team and BIOME, all gathered to celebrate the release of our print magazine’s tenth volume, Afterlife. 

This concept of nothing truly ending was the seed for the Afterlife issue, Defebaugh said, after seeing it graffitied on a wall in Brooklyn just blocks from the venue. It was also a reminder that despite a year of heartbreaking loss and blows for future climate progress, our commitment to protecting people and the planet is never over. “The work continues,” she said.

The theme was artfully reflected in the guests’ surroundings, holding true to that promise. Entering the space, guests were met with hanging prints of various ecosystems that contributors captured for the issue, ranging from a lone polar bear in the melting Arctic to an orangutan enveloped in a lush, but threatened rainforest in Indonesia. 

In addition to the images, a projection of photographer Tom Johnson’s film documenting Japanese butoh dancers on Oshima island played in the background. This projection soon came to life in front of the audience when lead dancer Norihito Ishii—who traveled from Japan—gave two captivating live performances. Ishii also joined Johnson and Defebaugh for a discussion on the origins of butoh and how the haunting art form reflects the theme of afterlife.

The night continued with a special DJ set by musical artist Oyinda and catered food and drinks provided by Rule of Thirds set against a backdrop of otherworldly botanical displays from Mimosa. A final toast came with the quieting of gleeful chatter, a brief pause in heartfelt communion, and one last request from Defebaugh: to allow death to be an invitation to get really good at living. To be a present participant in life, dedicated to the crucial work ahead,  and open to connection and the wonders we are seeking to protect.