The project consists of an automated digital film and multi-channel installation in which a predictive algorithm choreographs re-appropriated weather stations that move, gaze and speculate on the imminent shift towards the heated (warming) superposition of time and weather. The starting point of this work is the time-image of cinema in relation to the in/determinacy of weather by speculating of a shift in time. Open-access cameras gazing at the becoming of skies, seas, glaciers, forests, deserts, rivers to perform a choreography in more-than-human time. Within the installation, an algorithm attempts to predict the weather shift to a dreamlike time in superposition (where past, present and future meet).

Beyond the movie camera as an apparatus, we live in times of decentralized machines of capture. Following on the string left open by “La Région Centrale” (Michael Snow, 1970), the work proceeds by emancipating from the notion of the “center” and reappropriating the “idea of periphery from an anti-colonial viewpoint (...) toward an entangled vision of the world as it unfolds” (Michela Coletta, 2023). “The future is ancestral”, reminds us Ailton Krenak with a call towards the rescue of indigenous cosmovisions that escape linear time. What could such visions be like within technocultures in the midst of a climate crisis and global surveillance? How could such apparatus be reappropriated to perform a renewed gaze of Earth through a locally bound, more-than-human perspective?