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1 Zaremba, Halev. “The Antipodas Project, a US$2 Billion Subsea Solar Power Cable from Chile to China.” MercoPress, 2019.

2 Crary, Jonathan (1992) ‘Techniques of the Observer’, in Techniques of the observer: On vision and modernity in the nineteenth century. Cambridge (Massachusetts): MIT Press, p. 97.

3 Sam Roberts, “Debating a Right to the Sunshine and a Solar Grid,” The New York Times (1 June 1987): B1

4 Darier Éric. Discourses of the Environment. Malden, MA: Blackwell, 1999.

5 Wasserman, Andrew. “Street Light: Manhattanhenge and the Plan of the City.” Public 23, no. 45 (2012): 95

6 Cornea, C., Mackay, R. and Mitchell, S. (2013) ‘Re-Constructing “Le Coup”’, in Dramatising disaster: Character, event, representation. Newcastle upon Tyne: Cambridge Scholars Publ.

7 fana, Arabic fanāʾ (“passing away,” “ceasing to exist,” or “annihilation”), the complete denial of self and the realisation of God that is one of the steps taken by the Muslim Sufi (mystic) toward the achievement of union with God.

8 Toufic, J. (2009) ‘Afterthought by the Editor’, in Lapses.The Book Series of Pavilion of Turkey in the 53rd International Art Exhibition of the Venice Biennial., pp. 7–10.


10 Keane, Stephen. Disaster Movies: The Cinema of Catastrophe. London: Wallflower, 2006.

11 Apichatpong Weerasethakul – 'I Escape Into the Movies' | TateShots. YouTube, 2016.

12  Memoria directed by Apichatpong Weerasethakul. Distributed by Neon, 2021.

13  Pick, Anat, and Guinevere Narraway. “Introduction. Intersecting Ecology and Film .” Essay. In Screening Nature Cinema beyond the Human, 11–11. New York, NY: Berghahn Books, 2014.

14 Hernan sleeping, still from Memoria directed by Apichatpong Weerasethakul.

15  Sontag, Susan. 1966. “The Imagination of Disaster”Against interpretation, and other essays. New York: Farrar, Straus & Giroux. p46  

16 here the natural is in reference to the “sublime”, contrary to nature being a valuable part of and defined by societies. Nature here references the ecology of “mothlight” as a threshold between the contemporary viewer in their environment and a sublime space void of human artefact.

17 read time capsule article:

18 Hoberman, J. (2013) ‘The Myth of “The Myth of Total Cinema”’, in Film after film: Or, what became of 21st-century cinema? London u.a.: Verso Books.

19 Fifty Minutes. 2006. Directed by Moyra Davey

20 Watch WTC Haikus here:

21  Still from WTC Haikus by Jonas Mekas (2010)

22 Waugh, P., Botha, M. and Calarco, M. (2021) ‘Threshold’, in Future theory: A handbook to critical concepts. London ; Oxford ; New Dehli ; Sydney, New York: Bloomsbury Academic, pp. 131–140.

23 It is disputed when the Anthropocene era began but I am referring to the end of the industrial revolution in the late 19th early 20th century, where the process of producing became mechanised and no longer 1:1, thinking of the history of bricks, built to fit with the hand. Now we have glass buildings which could never relate to the hand in a direct way.

24 Waugh, P., Botha, M. and Calarco, M., Threshold 2021 pp 139

25 Wendy Everett, Screen as threshold: the disorientating topographies of surrealist film, Screen, Volume 39, Issue 2, Summer 1998, Pages 145

26 Read press release for Grenfell -

27 Toufic, J. (2003) ‘Ruins’, in Vampires: An uneasy essay on the undead in film. New York: Station Hill. p.71

28 Still from ‘Grenfell’ (2017) Directed by Steve McQueen

29 Bishop, Claire. “Mimetic Engulfment.” Essay. In Installation Art: A Critical History, 82–90. New York, New York: Routledge, 2005.

30 Oliver-Smith, A. (1998) “Global Changes and Definitions of Disaster” in Quarantelli, E. L., Ed. What is a Disaster?: Perspectives on the Question. London and New York: Routledge, pp.177-194.

31 Ariss, T.E.- (2018) Leaks, hacks, and scandals: Arab culture in the Digital age. Princeton, New Jersey: Princeton University press.

33 Watch 9/11 (2001, 57:51) here:

34 Prates, V. (no date) The Anthropocene Diet: Perversions of consumers facing the environmental crisis, Open Humanities Press. Available at:  (Accessed: 20 March 2023).

35 George Carlin's “I Kind of Like it When a Lot of People Die” recording from September 9th & 10th 2001- discovered and released after his death

36 Zhou, X. E., Melcher, K., & Xu, H. E. (2012). Structure and activation of rhodopsin. Acta pharmacologica Sinica,

33(3), 291–299.  

37 Scientists have successfully created embryos of the northern white rhino (2021) Save The Rhino. Available at: (Accessed: 19 March 2023).

38 Heralded as the largest rhino sculpture in the world, The Last Three was created by husband-and-wife artist duo Gillie and Marc after raising money through a Kickstarter campaign.

39 Deleuze, G., Tomlinson, H. and Galeta, R. (1989) Cinema 2: The time-image. Minneapolis, Minnesota: University of Minnesota Press.

40 Cornea, C., Mackay, R. and Mitchell, S. (2013) ‘Re-Constructing “Le Coup”’, in Dramatising disaster: Character, event, representation. Newcastle upon Tyne: Cambridge Scholars Publ. Pp.51

41 ‘Re-Constructing “Le Coup”’, in Dramatising disaster Pp.60

42 Roberto Matta, Nous Tous, 1994 Aquatint, Etching

43 Ballard, J.G. and Burroughs, W.S. (1993) ‘ A Watching Trinity’, in The atrocity exhibition: With author’s annotations. London: Flamingo, pp. 34

44 Yalepress, D.E. and ARTbooks (2022) Illuminating the void: Gordon Matta-Clark’s urban interventions, Yale University Press. Available at: (Accessed: 28 April 2023).

45 Steyerl, H. (2013) ‘In Free Fall: A Thought Experiment on Vertical Perspective’, in The wretched of the screen. Berlin: Sternberg Press, pp. 12–29.

46 Hito Steyerl - In Free Fall: A Thought Experiment - lecture - 06/11/2010

A lecture as part of the 2nd Former West Congress: On Horizons: Art and Political Imagination,

04.11.-06.11.2010, Istanbul Technical University (TR).

47 NASA’s DART Mission sped up:

48 A Trip to the Moon (1902) directed by Georges Méliès

49 The final frame depicting the impact of the satellites collision with the moon Dimorphos from NASA’s DART mission

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