The film makes reference to Raymond Williams’ concept ‘structures of feeling’, which is identified as an ‘active’, ‘flexible’, ‘temporal present’, and applies this to the operations of the capitalocene, where technological infrastructures stretch their tentacles out over the whole earth implicating everything within their operations.

Voiced by a posthuman lifeforce, the video outlines a plan for an all consuming form of future machine: “We are the assemblage of elemental feelings, orchestrating capture through our sensing machines.” It suggests a vast assemblage that goes beyond current notions of extraction to implicate diverse forms of material (flesh/rock/precious metals/skin/plants/soil) and their unique temporalities into its mechanism. This machine enables affective operations on bodies of all sorts to be implemented. 

In the work we see elemental processes operating across multiple temporalities, as Derek P. McCormack notes  they are within the domain of speculative forces and practice through which the elements are engineered, extracted, forged, manipulated, modified and purified as part of the generation of different forms of value. Thus bodies, subjects and worlds become affected by elemental processes operating across multiple spatialities and temporalities and through this they arrive in a solution to affective experiences and they activate new forms of control.

Screenings:  Gjon Mili International Video Art Festival (official selection), 2025.