[...]ng things into signs, welding image and discourse

the contemporary experience is also made of sharing/tweeting/liking images

the contemporary political economy: communicative capitalism derives surplus value from the volume and velocity of sings and data circulating in the infosphere.

proliferation of cognitive signs is another feature of communicative capitalism, submitting the mind to an ever-increasing pace of perceptual stimuli

(for Berardi) seeing means accelerating perception in the fields of everyday experience, accelerated tautological vision derived from constant passive observation. this is another of communicative capitalism's form of governance, as this kind of vision generates techno-linguistic automatisms by carrying information without meaning

is Kinect image-compilation a creature of infosphere? (boring question?)

normalization of groundless seeing (exemplified in google earth)

“picture does not make an image” (Serge Daney, before and after image)
image against vision

life persists irrationality, not given form by imagination, ceasing to cohere into a higher truth. (Fox, cold world)

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(Ada Smailbegovic)

nature of things (2013, Sina + Elisa)

related to temporalities and velocities (plant politics of movement)

the video registers different rhythms and textures of change in the event of weather
methodological impulse to draw on descriptive practices of natural history
attuning to particulate differences that compose change

the temporal dimension of human “umwelt” is tuned into a limited set of rhythms and durations. therefore many of the temporalities that are relevant for developing a politics of time (such as longe duration of geological time) may not be directly available to human sensorium.
not just something thang that it is difficult to sense, but temporality as a compound entity of other variables. (temperature, etc.)

binding times together

an alternative perspective on (anthropocene) temporality involves developing a poetics of description as a mode of affective and aesthetic amplification

=> developing an experimental poetics of technology as a mode of aesthetic amplification towards a less perspectival visuality -- the writing tends to operate in a more tentacular mode of perception --> sweating on every negative space
+++ sweating again was crucial in our sensorial (and therefore cognitive) relation when we were in Amazon. Kinect and sweating both propose modes of perception other than perspectival shadow casting system of vision.

(organic or inorganic/technological?) processes that constitute the planet/plant

=> intimacy with the organic/inorganic/technological processes that constitute the planet
[...]