New Book — To my wife

[mario santamaria]

New book
To my wife 

***
New publication based on a research of many type of books with the relative
thanks and acknowledgements by the authors to their wives. Unconventional
and poetic collection, entitled To my wife.

Design by Blanca Crovetto
Language: English
Pages: 132
Self-publication
Edition of 150 copies
PVP €12.00

More Info:
http://mariosantamaria.net/to_my_wife/

All the best,

Mario Santamaría
---

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Madrid
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---
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m: +0034 651 109 724  Instagram 
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The Watershed in Your Head

[Brian Holmes]

[Dear nettime, we were old friends. But so much has changed in the
tumultuous decade that's now drawing to a close. Here's what I learned.
It's still tactical media in a way. There's some links at the end. If you
like it, let's collaborate. In any case, good luck to all for the upcoming
years on planet Earth - Brian]

https://anthropocene-curriculum.org/contribution/the-watershed-in-your-head


THE WATERSHED IN YOUR HEAD:
Mapping Anthropocene River Basins

The biogeochemical transformations of the twenty-first century demand a new
analytic of society: not political economy, but political ecology. It's the
study of the technological powers, organizational forms, and
decision-making processes whereby human groups reshape their environments.
But it's also a more difficult and sometimes incalculable approach to the
multiple forms of agency exerted by non-human others, whether on
themselves, on us, or on any other component of the living world. Political
ecology mingles nature and culture in an unlimited feedback system at
planetary scale, with consequences in all directions. How to achieve at
least a beginner's literacy in its manifold concerns? How to express them
with the exactitude of science and the passion of direct engagement? And
how not to exclude the crushing banality of economics, which continues to
produce so many unwanted changes in the earth system? Finally--it's no mere
detail--how to inject the uncertain wonderment of art into this devastating
panorama of ecological overshoot? The questions are immense, but that's the
point. It's time to develop a cultural critique of too-late capitalism, aka
the Anthropocene.

I'm going to give it a try in the first person.

I used to be involved in the critique of political economy and the practice
of tactical media--a cultural cycle that had kicked off back in the '90s.
Then in 2015 I began work on a serious reboot, mixing public science,
environmentalism, and open-source cartography. The idea was to produce a
web-based map about pipelines and oil infrastructure, under the title
Petropolis. I wanted to learn contemporary reality in public, by locating
fossil institutions in lived rural and urban spaces that could expand out
to continental scale, but that could also be explored close up, by groups
deliberately convened for experiments in collective perception. Yet the
confrontation with petroleum infrastructure was paradoxical. On the one
hand, it's absolutely necessary, because the crucial power structures of
Anthropocene society remain functionally invisible, concretely unimaginable
by most people, posing obvious barriers to any conceivable change. But at
the same time, petroleum infrastructure is just plain deadly; it's the
epitome of instrumental rationality divorced from any form of human or
ecological interdependence. When you examine it up close, you become
terribly conscious that the stakes of this economy do not lie contained
within its sprawling infrastructural footprint. Instead they're elsewhere,
everywhere, in a fundamental entanglement with no end in sight. Political
ecology has to begin with that condition.

To go further in a positive way I reached out to a friend with extensive
experience in grassroots eco-advocacy: the artist and activist Alejandro
Meitin, known for his work with the Argentinean group Ala Plastica. We had
an opportunity to do a project together in the context of an exhibition
called The Earth Will Not Abide, about industrial agriculture and land-use
change in the Americas. So we launched an "interbasin collaboration," which
continues up to the present. The aim is to explore watersheds as
laboratories of governance. The first results took the form of a double map
and multimedia archive entitled Living Rivers/Rios Vivos, comparing two
major watersheds in North and South America.

Alejandro brought twenty-five years of knowledge and experience to bear on
the Parana River and its vast drainage basin, the Rio del Plata watershed
extending from the middle of Argentina to Uruguay, Paraguay, Bolivia, and
Brazil. As a comparative greenhorn, all I could do was throw myself body
and soul into the political ecology of the Mississippi River and its
tributaries, which cover roughly 40% of the continental US. Both of us were
focusing on the accelerated land-use change brought by a single phenomenon
that also dates back twenty-five years: genetically modified grain planted
in endless monocrop fields and sprayed from the air with glyphosate, which
is the active ingredient in Monsanto's RoundUp. This weirdly industrial use
of the tranquil countryside has exploded over the last quarter-century, due
especially to the telluric pull of the Chinese soybean market, and more
broadly to the rising global demand for grain-fed meat. How could urban
publics, far away in their bubbles of prosperity and entertainment, begin
to perceive and talk about such things? Artistically we were attempting to
combine embodied experience, social experimentation,