26: Parataxis, screens, skeins,
portage and refraction

 

A poem from a 100 e-flux press releases, 2021

A portage of Planet Labs blog posts, 2015

A cycle around the neighborhood, 2022

invisible art-care-workers
please inform yourself in advance on our homepage

there are no closed, completed forms 
possibility of change is maintained at all times

tell me about Darkness, your recent project

the protagonists are trees and tree stumps
which move diagonally against a magnificent colorful sky
tilting or shedding their bark

the central installation 
passing one loop into another

is linked with the hands via several 
algorithmically describable intermediate steps 

to form an image

from my window / from your window
the oldest and most prestigious festival of its kind

2

diving headlong into the uncanny valley of lockdown nostalgia

a woman bursts into a state of frenzied dance on the street
within the next month four hundred more follow
paroxysms that erupted without warning 
a state of participation mystique

this immersive VR film follows a young girl 
who recounts her family’s uncanny past 

a small window into their current situation
composed entirely of gestures, grunts 
gibberish, moans, and screams

a great migration, a great rejection 
the abstract techno-financial violence 
the concrete violence of the returning

3

yes, their residuals are protesting to disappear

art is even allowed back into people’s lives
in Austria, for instance, galleries reopened 
at the same time as gardening stores

Show Me A Good Time 
is a unique 12 hour 
live-streamed performance

In the Ashes of History 
consists of works in several series 
performed in different techniques

the second of the two existing versions 
of Disarm (Mechanized) II 
will enter into dialog with 
Tinguely’s Mengele-Dance of Death

the unsettling and the second iteration 
of the “Women On Aeroplanes” project in Lagos

in the background
a class war is raging as well

the third section, To Live Like a Human 
only the music is “exhibited”

4

a project about an overabundance of information
this plays into the hands of people 
that want to challenge legitimacy

experiences of diaspora 
remain unfixed
the multilayered subtle variations 
in green that emerge 

Ten Minutes Older 
remains one of the most wondrous 
ruminations on the passage of time 

what I work on when nothing is working out

Cucú and Her Fishes casts their undisciplined 
research methods into cyberspace

shimmering surfaces
ghostly screen backs 
absorbent tunnels 

some of the strategies the artist use 
to capture the futural

to instill a sense of disorientation 
hallucination and uncanniness

in partnership with Libération 
The New York Times
Le Bonbon and Trois Couleurs

5

when we recall
we do so in images

the artist compiles data 
while strolling languorously 
in an orchid greenhouse 
or being ferried in a canoe

I collect art in the same way
that I walk down the street 
and see people

this is intention infinitely approaching 
without ever touching its object-cause

“You” are strangers, women
plants and animals
machines and the earth

Agile and finally Stay Woke 

transform the street 
into an obliged museum

6

Heinkuhn Oh that he took on the film set of A Petal 

7

at its core Pictures at an Exhibition 
is an homage and a remembrance

memorialization through funerary photography

an impulse to groove and an impulse to come home

the methods can overall be divided

the exhibition’s two main themes
closeness and empathy

to write as if you were dead
the phrase ‘inner emigration’

with the kind support of the 
Bureau des arts plastiques

8

A Cloud makes itself, receives its premiere at EMMA

still, Asha manages to conceive a vision 
strong enough to take her beyond

some of the works depict silence and intimacy

numbers have taken on a different meaning

a stop to the criminalization of sea rescue

a cinematic language that appeals to audiences 
too young for the exhibition Unprecedented Times 

a prelude to its postponed edition

a durational performance 
researching the laboring gestures 
of theme park animal performers

including invocations, symposia
labour and its sonic ecologies

within the body of this exhibition 
no walls or fixtures are added

a cat with clipped whiskers called Rayyes
involved in restoring social bonds

And if I devoted my life to one of its feathers?

a champion of slowness 
and concentration

force times distance
degrowth society

10

Within the scope of the exhibition 
Tell me about yesterday tomorrow 
a multi-stranded program named “Assembly” 
will take place in two parts

it has a reserved rhythm

a result of our need for reciprocal conversation

why do you think it’s important to make a film 
about banal, non-heroic, non-tragic, everyday things 
depicted in a manner devoid of dramatic images?

your presence Más allá del fin 

Planet’s Latest Batch of SuperDoves Deliver First Light

Our Doves, which make up the world’s largest constellation of Earth-imaging satellites, are launched in Flocks and provides a whole-Earth dataset that is unmatched in its breadth and freshness.

Planet’s imagery is more than meets the eye - it’s a dataset that keeps getting better.
And it means building time sliced mosaics.

Our frequent, broad-coverage imagery is ready to support your humanitarian, environmental, and business needs.

Planet data supports any industry that manages geographically-distributed, high-value assets.

Make well-informed decisions faster with global situational awareness and same-day competitive intelligence.

Downloading even a small fraction of the world to process it and extract valuable information will be prohibitive for most use cases.

Our recommended approach for any automated processing of imagery is to “bring the algorithms to the data.”

A “mosaic” refers to a composite of multiple Planet Labs scenes into a single layer. Each mosaic is composed of many.

GeoTIFF “quad”s, generated at zoom level 15.

A single RapidEye Level 3A orthorectified image.

A Python library that finds locations where there are deep stacks (multiple overlaps) of imagery by clustering the location of GeoJSON polygons.

A tileserver URL that can be used to view the mosaic on a web slippy map.

Maximal Rectangle is a Python library that includes two functions.

First poly-intersect creates GeoJSON of the intersection of multiple polygons. 

Second, max-rect calculates the axis-aligned rectangle of maximal area that is inscribed within a polygon.

How do we leverage the cloud to do huge image processing?

As Planet’s “Grand Commissioner”, I’m happy to report that all eight satellites are happily making their way through our automated commissioning process.

[Soyuz] Launch of Bion-M Capsule on Russian Soyuz 2-1A Rocket

Esoterra is our fully-integratable, cloud-based solution that catalogs and maps unexplained fringe events and areas of unique, supernatural interest. 

In just one week, we’ve successfully captured and orthorectified over 5 million square kilometers of enigmatic Earth imagery including: haunted amusement parks, mysterious islands, and ancient alien geoglyphs.

From Space to Table - Tech in Your Vegetables.

Clouds are a reasonably good reference for white, especially when they’re not completely saturated.

‘Six Reasons Satellite Imagery Trumps Drone Imagery in Agriculture.’

I know I speak for all at Planet when I say we’re excited to call Descartes Labs a partner.


The first major Planet.org initiative is the #LoveEarth campaign and Facebook page for planet Earth. 

We’ve pledged 1%.

Ad astra!

Planet’s vision is to use space to help life on Earth. 

According to Descartes, our global, high-frequency imagery will help them in their analysis for U.S. crops.

A Dove captured water scarcity outside Alamata, Ethiopia. 

Irrigated fields prosper, others falter.

Dubai Creek is home to a number of high-rises, marinas, and golf courses.

This morning, a Dove slipped quietly over the epicenter of the Hiroshima attack and snapped this picture. 

The image was tucked in memory for a little over five hours, and then downlinked to a web-enabled ground station.

Seventy years ago, flying fortresses flew over Japan and obliterated hundreds of thousands.

This morning, a dove took their picture as the Peace Bell rang.

In the cart view, you can review the scenes that you’ve added, remove any that you don’t want, and click “place order” when you’re ready.

From a cosmonaut’s point of view, our Doves slowly tumble away into space.

The biggest beneficiaries of this acquisition are our customers – who will be able to receive more data, and, with Planet’s automated platform, acquire it with unprecedented speed and ease.

Right now, eight of our Dove satellites are packed in their NanoRacks deployers on SpaceX’s Dragon Capsule. We’re calling these satellites “Flock 1f”

SF’’s own crowdsourced fashion retailer, designed a capsule collection using our satellite imagery. CubeSats are this season’s hottest accessory. Avanti, Operations Extraordinaire, models the Lake-Print Perfect Dress.

Today, we are excited to announce that we have closed our Series C financing at $118 million with the International Finance Corporation (IFC), a division of the World Bank Group, being the lead investor in the 2nd closing. This gives Planet the capital to scale our satellite constellation, to support business development, sales, and to develop our data products.

A little background: on October 28, 2014, twenty six of our Flock 1d Doves were lost in the Antares explosion.

This deployment series validates our iterative approach to satellite design/manufacturing, and more importantly, pushes us one step closer to our primary goal: to image our entire planet every day.

Advania’s Mjölnir Data Center, named for Thor’s hammer.

This year, Planet Labs will be creating a “warm” backup our data at Advania’s Thor Data Center, which uses GreenQloud’s platform. Beyond the redundancy that this partnership enables, Iceland is attractive for another reason: it is working toward a regime of strong governmental protections for data that many hope will make it a “Switzerland of Data”. That in turn, is bringing many new customers to this remarkable country, driving further efficiencies. It’s helping companies like ours ensure that our data will be available to the world no matter what.

Remember: these images and others in the gallery are licensed under creative commons. Freely share, use, and remix these images to express yourself, develop useful tools and draw new insights.

 

These mountains in southern Kyrgyzstan are home to radioactive dumps—the product of former Soviet uranium tailing mines. Today the region is labeled as one of the world’s critically polluted areas. 

Tankers unload crude oil and take on reined products at the sprawling Mailiao Refinery. The refinery produces everything from gasoline to synthetic fibers.

A fire burns through a field in Toshka, Egypt where corn, grain, and feed crops are produced.

Just north of Odessa, Texas, thousands of well pads draw from oil and gas-rich shales below. This resource rich area, known as the Midland Basin, is one of the United States’ most historically important oil and gas regions.

About 80,000 people reside in the Zaatari Refugee Camp, a small percentage of the millions of refugees who have fled Syria. The camp continues to evolve, as tents erected in 2012 are replaced by semi-permanent structures.

In the middle of Table Bay lies the isolated Robben Island, the infamous prison (now a World Heritage Site) where Nelson Mandela was incarcerated for 18 years.

Bright gas flares spew black smoke in Iraq’s Rumaila Oil Field. Satellites & orbiting astronauts can see these gas dlares across the region—day and night.

Two high-output power plants line the Ohio River in Western Pennsylvania. 

White steam rises from the Beaver Valley Power Station (lower center); a nuclear generating station capable of powering one million homes. Smaller plumes rise from the Bruce Mansield Power Station (upper right), one of the nation’s largest coal plants.

Plumes of condensed steam rise from these industrial facilities near Hulun Buir, Inner Mongolia. The fields and pastures of the region are transforming rapidly as gasification plants are built to convert local coal reserves into power, natural gas, petrochemicals, and liquid fuels.

As part of the Global Resilience Partnership, convened by the Rockefeller Foundation and USAID, Planet will help the people of the Sahel, Horn of Africa and South and Southeast Asia build more resilient futures.

I bicycle by Cafe Oto and a man is cracking open geodes on the concrete. Around the corner a woman with pink hair is posing with a large pink dildo.

At the Dusty Knuckle someone named Agnes has evidently abandoned their sandwiches and a young woman with a deep voice calls out her name repeatedly like blows with a heavy boot to my ribs.

A person goes by on roller skates with big headphones on. The way they are moving, it looks like they are listening to the same Emahoy Tsegué-Maryam Guèbrou piano music that I am listening to in my headphones.

I think they mistake my staring for interest and they come circle me a few times.
The subway signs chastising people for staring are really awful.

The Jubilee should really be about making Elizabeth ride the Jubilee line all day with its hellish clamor and feel shameful for letting her eyes explore the world.

A person stands beside me while I type and looks in the same general direction, signing with their hands and mouthing words until I take out my AirPods and then they smile and we both make a ginger shrug towards each other and they walk away.

I bought the AirPods because the young genius at the apple store told me everyone loved them for tuning out the sounds of London. Ben calls the Jubilee line the Xenakis line. And doesn’t take his child on it because the noise upsets them so much.

I reasoned they were cheaper than therapy and left with the noise canceling headphones, which at first made me feel sociopathic and now causes anxiety when I don’t have them.

I didn’t use them at all when I was by the ocean. Unless it was for important phone calls.

I get the sense Silicon Valley won’t be happy until they control what goes in and out of every one of our sensory vectors. And they wont be happy then.

A man leans in and piercing the noise canceling, propositions me about some balloons and laughing gas.

I thought immediately of Jalal Toufic in a Ralph’s supermarket on Wilshire reading Time.

If you tickle us, do we not laugh? I, for one, don’t, and not because I am depressed, but because I find this historical period largely so laughable that were I to start laughing I am afraid I would not be able to stop. I remember how when high on marijuana my ex-girlfriend would giggle virtually at everything on and on. I never had this kind of extended laughter on the few instances I smoked pot. Yet I am sure that were I to start laughing in my normal state of consciousness, my laughter would certainly surpass hers. As for her, there was no danger of her starting laughing and not managing to stop, dying of it: she did not find present-day societies that laughable. All I ask of this world to which I have already given several books is that it become less laughable, so that I would be able to laugh again without dying of it—and that it does this soon, before my somberness becomes second nature. This era has made me somber not only through all the barbarisms and genocides it has perpetuated, but also through being so laughable. Even in this period of the utmost sadness for an Arab in general, and an Iraqi in specific, I fear dying of laughter more than of melancholic suicide, and thus I am more prone to let down my guard when it comes to being sad than to laughing at laughable phenomena. The humorous thinker Nietzsche must have been living in a less laughable age than this one for him to still afford the sublimity of: “To see tragic natures sink and to be able to laugh at them, despite the profound understanding, the emotion and the sympathy which one feels—that is divine.” In a laughable epoch, even the divinities are not immune to this death from laughter: “With the old gods, they have long since met their end—and truly, they had a fine, merry, divine ending! They did not ‘fade away in twilight’—that is a lie! On the contrary: they once— laughed themselves to death! That happened when the most godless saying proceeded from a god himself, the saying: ‘There is one God! You shall have no other gods before me!’” (Nietzsche, “Of the Apostates,” Thus Spoke Zarathustra). At this point in history, can one still laugh on reading Nietzsche, Beckett, Thomas Bernhard? Has this age not deprived us of a major facet of these works: their humor? Can present-day humorous people still find Richard Foreman’s work, or for that matter my early work humorous—without dying of that? All funny people in laughable periods are not humorous enough; to find the most humorous people in such a period one has to look among the serious, who need this seriousness not to expire in laughter. In this respect, I reached a critical point on June 20, 1996. I was standing in a fairly long line at a checkout counter at the Ralphs supermarket on Wilshire and Bundy, Los Angeles. Amidst the many magazines on the adjoining rack, I saw the current issue of Time. Its cover story was: “America’s 25 Most Influential People.” Flipping through the pages to get to the section in question, I was suddenly seized by an apprehension verging on anxiety: that starting to laugh on reading some of the listed names I would not be able to stop, even my aroused seriousness proving this time inadequate to do the job as a defense mechanism. Four months later, I still do not know whether the intense apprehension I felt then was warranted. But from that day on an even more heightened vigilance against starting to laugh has become one of the salient features of my life.