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.

A satirical, game-like cartography of post-pandemic “art worlds” renders the contemporary art system as a set of machinic, bureaucratic, and extractive ecologies—where bodies, affects, and images are processed into value through debt, spectacle, war, and platform governance. By proposing “composting” as both critique and method, it mobilizes posthuman and institutional-critique frameworks to expose how decentralization, tokenization, and democratized participation often reproduce feudal capture and states of exception, while still gesturing toward reparative world-building beyond the market’s endgames.