Planetary changes are happening, every single one of them, from the reduction of the albedo effect in the Arctic (loss of ice-reflectivity) to deluges and heat spells that are increasingly “unprecedented.” These events are occurring somewhere, affecting some person, now. And now, again. One way to comprehend the particular punctuations of the Anthropocene is to magnify these intimacies of event, both theoretically and narratively. As we have been continuing to collect essays and artworks for the Lexicon, I have begun to see it as a pointillist project, little pinholes that light up the Anthropocene from the inside.
Knowledge is produced through relationships—relationships to space, time, people, other beings. And those relationships create responsibilities. It’s not my place to learn something if I do not have robust and ongoing relationships to a specific place or person or history. And if I cannot tend to place, people or history in the ways that those who hold the knowledge deem to be necessary/adequate/robust, I have no business extracting that story. In that sense, knowledge is also deeply shaped by a kinship of sorts—and it requires labor to continue to tend to those relationships between ourselves and the stories we are gifted or granted through our connections to others.
Existence itself is a permanent transformation, a constantly-evolving system. You speak of changes made to the body, but I think grief, for example, shakes up identity much more. My aim is not so much a transformation of my essence, as the wish to respond to an eternal frustration: to finally feel the animal otherness in myself, but also to stop thinking from a purely anthropocentric point of view.
Together artists and organizers installed a cohesive “roadside attraction” that playfully stages evidence of humanity’s influence on geological material, torquing Frontier-fantasy trading posts and Pastoral tourist stopovers with Anthropocenic evidence culled from the the city.
How do you describe a hundred foot wave? What about a thousand foot wave? By translating those environmental catastrophes into a book—and a tiny book at that—the scale is exaggerated.
It’s a lot about hosting. It’s a lot about listening and being super sensitive to nuances. We somehow set certain loose parameters, follow what emerges, and then try to tease out meanings. Meanings in plural because I don’t feel it’s possible to construct a coherent or singular narrative around art and ecology.