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@strandweaver
Monica Byrne
Gennady Mironov
cf. Jeff Vandermeer Acceptance
Last and First Men | JĂłhann JĂłhannsson | 2017
Danila Tkachenko âMonumentsâ
Anne W. Brigman - L'âme d'un arbre foudroyÊ (1907)
Humanoid trees, Annihilation, dir. Alex Garland
(les arbres dââmes foudroyĂŠes)
[1] James Turrell (American, b.1943)
Aquarius, Medium Circle Glass  -  2019
[2] Alan FriedmanÂ
high resolution photograph of the Sun - 2020
Pierre Ino (1909 - 1989)
Migration des âmes, 1941
Hideo Kojimaâs latest video game is a mindful hiking simulator set in a post-disaster America.
âTarkovsky, adapting Arkady and Boris Strugatskyâs 1972 novel Roadside Picnic, created a Zone in which possibilities literally expanded, and slippery ideas of faith, guilt, and desire could be contemplated. Its opening poses two origins for the elusive region: a meteorite or aliens of the âcosmic abyss.â Not that it really matters; the Zone is a vessel for the fears, anxieties, and hopes of those who visit. Other Zone-like constructions with similarly obscure origins have emerged, like the pristine Area X in Jeff Vandermeerâs Southern Reachtrilogy and Alex Garlandâs subsequent adaptation, 2018âs Annihilation. In those works, ecological beauty and horror coexist while time and space take on their own psychedelic properties, posing fundamental questions about the nature of life itself to its own group of travellers.â
âThe collective spirit Kojima fosters reminds me of the writer and artist group known as the Dark Mountain project. Its 2009 manifesto Uncivilization writes of the need for figurative âbearers, sherpas, guides, fellow adventurersâ in a time of ecocide.â
âIronically, ecological crisis and its rising death toll has imparted the Zone a new, twenty-first century lease of life. While Stalker and the Chernobyl disaster emerged during the throes of Soviet crisis and the regimeâs declining power in the 1970s and â80s, the Southern Reach trilogy and Death Stranding function as spaces to reflect on natureâs death, humanityâs destructive potential, and, crucially, our resolve for survival. Crisis generates new questions where old knowledge fails; the Zone offers us a space to work through the tumult.â
âSam develops a fondness for the incubated infant strapped to his abdomen, which helps him detect BTs in the wild. However bleak, scary, celestial, or downright mundane Death Strandingâs eco-horror becomes, the game is anchored by their connection. At first glance, Sam and BB symbolize the rule-breaking weirdness of Kojimaâs Zone where grown-ups rely on strange, bottled babies for survival. But at their core, the duo represent intergenerational responsibility and Samâs own earthly duty to his dependent. Death Strandingâs most fundamental, surprisingly heartfelt question asks us what we want to pass on: a world of life and possibility, or a darker future entirely.â
Stalker | Andrei Tarkovsky | 1979
Several movies can help us make sense of our current moment, but Alex Garlandâs âAnnihilationâ is one of the few to point the way forward.
âEven as essential workers continue to hold us together, the pandemic has cast an ominous spotlight on our natural porousness, and not even the most solipsistic of people can step outside their home without being confronted by the truth that everything is a part of everything else. But with most of us holed up inside, it can seem as if the only choices we have are to silo ourselves away or disintegrate completely. Either way presents its own kind of annihilation.â
âLena, however, comes to appreciate that the only way out of the Shimmer is to push through to the other side. Watching the particles of her being swirl together with those of her colleagues and the world around them, she realizes that nothing is immutable. Change is inevitable â itâs disintegration thatâs a choice.â
ââAnnihilationâ is so illuminating because it finds a measure of comfort and/or catharsis in that without having to suggest that âwe are the disease and the world is healing itselfâ or whatever. It provides a lens through which to see this pandemic as a true cataclysmic tragedy, and real life, not some momentary pause. Devastation is inevitable, but disintegration is a choice, and a frantic race to restore the world to its previous shape will only end with us dying in the ruins of the world we have now.â
âSelf-destruction may be programmed into our cells, but annihilation doesnât have to be.â
See also :Â https://newrepublic.com/article/147201/annihilation-brilliant-splicing-woolf-cronenberg
https://www.vulture.com/2018/03/annihilation-movie-depression.html
âNew routine / That Iâve learned / To understand and knowâ
2020.12.26
From the series âthe Creationâ,1906Â
Mikalojus Konstantinas Ciurlionis
The Shimmer, Annihilation, dir. Alex Garland (2018)
Mikalojus Konstantinas Äiurlionis (1875-1911), âNightâ
Visions of the past in DEVS, Alex Garland (2020)
Roj Friberg (Swedish, 1934-2016), Nocturne, 2014. Mixed media, 57.5 x 79.5 cm.
Natalie Portman in Annihilation, dir. Alex Garland (2018)
âIâm Fragile, but Iâm not that fragile.â