The Most Honest Book About Climate Change Yet
“Vollmann’s undertaking is in the vanguard of the coming second wave of climate literature, books written not to diagnose or solve the problem, but to grapple with its moral consequences.”

time machine // database // travel guide
‘The country blooms – a garden, and a grave’, Oliver Goldsmith ‘The Deserted Village’.
“The whole ambition of the picturesque was to rework the natural world into a ‘landscape’ – a word that came to England at the end of the sixteenth century
from the German, via the Dutch. Early English uses of ‘landskip’ are strongly cultural – the word is used to describe paintings,
particularly the backgrounds of paintings, and thereby any view that could conceivably be painted.”
“The picturesque encouraged the critical appreciation of nature as a spectacle. Observers of a scene – the word ‘scene’ itself reveals the implicit theatricality of viewing – became an audience, by turns appreciative or critical.
Hence natural landscapes became part of culture, and were understood, judged, and painted according to artistic conventions and aesthetic theories.
For a growing proportion of the increasingly urban population, initial encounters with natural landscapes would be through the medium of art: representations delivered either by pastoral poetry or in picturesque images.”
‘In grand scenes, even the peasant cannot be admitted, if he be employed in the low occupations of his profession: the spade, the scythe, and the rake are all excluded.’ What was allowed was pastoral idleness: the lazy cowherd resting on his pole . . . the peasant lolling on a rock’, an angler rather than a fisherman, and gypsies, banditti, and the occasional individual soldier in antique armour. The image of the countryside presented therefore looked very much in need of improvement – slack, inefficient, indigent, lawless, and archaic. Moreover, once ‘improved’ the landscape was likely to be as empty of agricultural labour as the picturesque depicted it since nearly all the peasantry would have been forced off the land.
timespace coordinates: 1992 – 2018 Massachusetts

The Haunting of Hill House is an American supernatural horror web television series created by Mike Flanagan for Netflix, produced by Amblin Television and Paramount Television. The series is based on the 1959 novel of the same name by Shirley Jackson. The plot alternates between two timelines, following five adult siblings whose paranormal experiences at Hill House continue to haunt them in present day. The series also features flashbacks to 1992, depicting the events in Hill House leading up to the eventful night the family departed. The ensemble cast features Michiel Huisman, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti, Lulu Wilson, Carla Gugino, Henry Thomas and Timothy Hutton. (wiki)
“No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.”
― The Haunting of Hill House
timespace coordinates: 1998 Berlin, Germany
(FAST, smart & fun)
Run Lola Run is a 1998 German thriller film written and directed by Tom Tykwer, and starring Franka Potente as Lola and Moritz Bleibtreu as Manni. The story follows a woman who needs to obtain 100,000 Deutsche Mark in twenty minutes to save her boyfriend’s life. (wiki) imdb / rt / THEMES
Wir lassen nie vom Suchen ab, /
und doch, am Ende allen unsren Suchens, /
sind wir am Ausgangspunkt zurück /
und werden diesen Ort zum ersten Mal erfassen. /
(T.S. Eliot)
“The Magellan and Pioneer space probes near Venus have reported through radar imagery (or radio-based imaging) that “snow” on the surface of Venus contains large quantities of lead sulphide. It is not hard to imagine a situation that certain geological tracts of this metallic snow act as a coherer in the presence of radio waves from outer space, clumping together to mark forever the arrival of a message from distant stars, like an interstellar telegraph in Morse Code. Two years before Karl Jansky’s discovery of the cosmic radiophony, Hart Crane wrote in the poem Cape Hatteras:
“And from above, thin squeaks of radio static,
The captured fume of space foams in our ears —
What whisperings of far watches on the main
Relapsing into silence, while time clears
Our lenses, lifts a focus, resurrects
A periscope –””
timespace coordinates: 2000’s Netherlands / United States / Belgium / China / Spain

The Forgotten Space (Allan Sekula & Noël Burch, 2010) follows container cargo aboard ships, barges, trains and trucks, listening to workers, engineers, planners, politicians, and those marginalized by the global transport system. We visit displaced farmers and villagers in Holland and Belgium, underpaid truck drivers in Los Angeles, seafarers aboard mega-ships shuttling between Asia and Europe, and factory workers in China, whose low wages are the fragile key to the whole puzzle. And in Bilbao, we discover the most sophisticated expression of the belief that the maritime economy, and the sea itself, is somehow obsolete.
A range of materials is used: descriptive documentary, interviews, archive stills and footage, clips from old movies. The result is an essayistic, visual documentary about one of the most important processes that affects us today. The Forgotten Space is based on Sekula’s Fish Story, seeking to understand and describe the contemporary maritime world in relation to the complex symbolic legacy of the sea.