Planetary crisis and technocapitalist “control” are framed as a pathological narrowing of sensibility that cancels life’s norm-making capacity (Canguilhem/Dewey), yet the very affects of wrongness, depression, and disorientation can function as feedback signals and insurgent forces for new forms of reciprocity, imagination, and collective world-making. Against semiocapitalist tautological images and extractivist posthuman spectacle (critiqued via Huyghe/Emmelhainz), the text reclaims an eco-aesthetic continuum between feeling, environment, and expression (ZAD/Weber/Haraway/Moten & Harney) while insisting—through Bachelard—on imagination’s irreducible leap beyond environmental determination.

Nonfiction cinema is framed as a relational, ecological practice capable of resisting necropolitical border regimes by turning the shoreline—an unstable threshold of land/water and contact—into a model for cohabitation amid colonial violence, environmental crisis, and unequal power. Drawing on Mbembe, Anzaldúa, Arendt, and Latour, the program theorizes documentary as mediated “diplomatic encounter”: a performative convocation that rejects transparency and ethnographic extraction, using aesthetic experimentation (aisthesis) to produce partial yet shareable descriptions through which viewers renegotiate reality and the possibility of a common world.

Climate breakdown is framed as an intensifying arena of class struggle in which liberal universalism, apolitical moralism, and eco-nihilist “acceptance” function as displaced forms of denial that obscure fossil capital’s agency and the imperial distribution of vulnerability. Green New Deal–style green Keynesianism is critiqued as a contradictory social compromise that risks reproducing green imperialism and preserving the very industries it targets, prompting a call for dialectical revolutionary strategy that converts state planning’s form into an eco-communist rupture with capitalism.

Architecture is reframed as an “intangible infrastructure” of informational, ethical, and geopolitical flows that exceed building-as-object and destabilize modernist/parametric fantasies of managerial control and technological solutionism. Case studies spanning digital shelter, preservation as staged memory, labor-rights supply chains, and X-ray’s regime of transparency critique how computation, markets, and surveillance reconfigure inside/outside and expose architecture’s complicity in capital, humanitarian crisis, and new forms of visibility.

Climate change is framed as an anamorphic political object: apprehended head-on it produces a paralyzing Anthropocene sublime that feeds a Lacanian-Žižekian circuit of jouissance (catastrophe, moralism, “being in the know”) that mirrors and stabilizes capitalist enjoyment and extraction. A partisan shift in perspective—seeking gaps within the supposed ecological whole—re-centers collective class struggle through infrastructural and institutional interventions (pipelines, museums, anti-sponsorship campaigns) that convert cultural authority into counterpower against fossil-capital and greenwashing.

Maps “criticality” and decay across cosmological, geological, biomedical, and geopolitical registers to show how nuclear processes bind life to entropy, temporality, and managed risk. Through a montage of isotopes, infrastructures, and scandals, it critiques technoscientific modernity and colonial power as regimes of extraction and time-management that aestheticize, normalize, and weaponize radiation while redefining the Anthropocene’s historical threshold.