so massive that they refute the idea that spacetime is fixed, concrete, and consistent. Nonlocal: Hyperobjects are massively distributed in time and space to the extent that their totality cannot be realized in any particular local manifestation. For example, global warming is a hyperobject which impacts meteorological conditions, such as tornado formation. According to Morton, though, entities don't feel global warming, but instead experience tornadoes as they cause damage in specific places. Thus, nonlocality describes the manner in which a hyperobject becomes more substantial than the local manifestations it produces. Phased: Hyperobjects occupy a higher-dimensional space than other entities can normally perceive. Thus, hyperobjects appear to come and go in three-dimensional space, but would appear differently if an observer could have a higher multidimensional view. Interobjective: Hyperobjects are formed by relations between more than one object. Consequently, entities are only able to perceive the imprint, or "footprint," of a hyperobject upon other objects, revealed as information. For example, global warming is formed by interactions between the sun, fossil fuels, and carbon dioxide, among other objects. Yet global warming is made apparent through emissions levels, temperature changes, and ocean levels, making it seem as if global warming is a product of scientific models, rather than an object that predates its own measurement. According to Morton, hyperobjects not only become visible during an age of ecological crisis, but alert humans to the ecological dilemmas defining the age in which they live. Additionally, the existential capacity of hyperobjects to outlast a turn toward less materialistic cultural values, coupled with the threat many such objects pose toward organic matter (what Morton calls a "demonic inversion of the sacred substances of religion"), gives them a potential spiritual quality, in which their treatment by future societies may become indistinguishable from reverential care. Although the concept of hyperobjects has been widely adopted by artists, literary critics, and some philosophers, it is not without its critics. Ecocritic Ursula Heise, for example, notes that in Morton's definition, everything can be considered a hyperobject, which seems to make the concept somewhat meaningless, not to mention seemingly impossible to define clearly. As a result, Heise argues that Morton makes "so many self-cancelling claims about hyperobjects that coherent argument vanishes like the octopi that disappear in several chapters in their clouds of ink, Morton's favorite metaphor for the withdrawal of objects from the grasp of human knowledge." Bibliography Authored works 1994. Shelley