Mediated vegetal life—made legible through graphs, polygraphs, time-lapse cinema, and other imaging apparatuses—functions as a post-natural figure that destabilizes human exceptionalism by granting plants a contested visibility of agency, affect, and intentionality. By mobilizing ecofeminism, queer ecocriticism, decolonial anthropology, and film theory’s animism, the text reframes “anthropomorphism” as a potentially critical tactic for re-enchanting perception and forging political alliances against extractive capitalism’s intertwined ecological and social violences.

A “supercommunity” names an enforced, post-humanist togetherness defined less by solidarity than by coerced proximity, bad-faith intimacy, and the collapse of liberal-progress narratives into an apocalyptic present where life/death and human/nonhuman boundaries destabilize. Drawing on ecological entanglement, media-technological mediation, and critiques of late liberal governance, it frames contemporary sociality as powered by corruption and opacity, while art and information become speculative instruments within a world-machine that is ungovernable and newly animated.