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Photography is complicit in pathologizing raced and sexed bodies and picturing them outside the margins of "normal," consequently dispossessing such bodies from the benefit of perceptual neutrality in visual self-representation. How can auto-portraiture work by bodies, whose agency is predicated by the medium's historically disenfranchising frame, dispel its's congenitally diseased gaze? This writing project presents the auto-portraiture work of Paul Mpagi Sepuya as an example of the use of conjugation as a novel visual composition concept in image-making. Via its ability to enable trans-temporal and trans-locative visual zones, conjugation presents a radically potent experimental imaging strategy that extends beyond the potential reaches of abstraction, not only fundamentally reconfiguring what's being viewed, but equally affecting the action of viewing itself. Different to abstraction's inherent association with withdrawal and separation, conjugation activates image making that functions through combinations and simultaneity of –– combining individual interactions to create newly imagined forms that are free from the constraints of hegemonically imposed regulations of self-representation.

Frontmatter -- CONTENTS -- Introduction -- PART I Post-Identity Politics -- Chapter One Interview with Cassils -- Chapter Two From SF -- Chapter Three From Nomadic Theory (2011) -- Chapter Four From Towards a New Class of Being -- Chapter Five A Feminist Genealogy of Posthuman Aesthetics in the Visual Arts (2016) -- Chapter Six Animality and Blackness (2020) -- Chapter Seven Asserting Aboriginal Territories in Cyberspace -- Chapter Eight From Posthumanism and the Graphic Novel in Latin America (2017) -- Chapter Nine Witnessing Animals -- Chapter Ten Video Dog Star -- Chapter Eleven Interview with Garry Marvin -- Chapter Twelve From Plant Thinking -- Chapter Thirteen A Program for Plants (2016) -- Chapter Fourteen No Manifesto (1965, 2008) -- PART II Material Dimensions -- Chapter Fifteen Interview with Nandipha Mntambo -- Chapter Sixteen Locating Me in Order to See You (2007) -- Chapter Seventeen From The Rendered Material of Film Stock (2009) -- Chapter Eighteen Interview with Heide Hatry -- Chapter Nineteen On Some Limits of Materiality in Art History (2008) -- Chapter Twenty Elephants in the Room -- Chapter Twenty-One From Second Skins -- Chapter Twenty-Two Hunting and Gathering as Ways of Perceiving the Environment (2012) -- Chapter Twenty-Three Super-natural Futures -- Chapter Twenty-Four Rhythms of Relation -- Chapter Twenty-Five Proliferation, Extinction, and an Anthropocene Aesthetic (2017) -- Chapter Twenty-Six Interview with Graham Harman -- Chapter Twenty-Seven From Dark Ecology (2016) -- Chapter Twenty-Eight From What Is the Measure of Nothingness? -- PART III Registering Interconnectedness -- Chapter Twenty-Nine Interview with Kathy High -- Chapter Thirty From Writing Machines (2002) -- Chapter Thirty-One From Unexpress the Expressible (2012) -- Chapter Thirty-Two Introduction to Nocturnal Fabulations -- Chapter Thirty-Three Posthuman Performance (2010) -- Chapter Thirty-Four Critical Relationality -- Chapter Thirty-Five Ecosex ManiFesto (2011) -- Chapter Thirty-Six Interview with Jane Bennett -- Chapter Thirty-Seven Interview with Pauline Oliveros -- Chapter Thirty-Eight Animals, Nostalgia and Zimbawe's Rural Landscape in the Poetry of Chenjerai Hove and Musaemura Zimunya (2016) -- Chapter Thirty-Nine Waiting for Gaia -- Chapter Forty Interview with Newton Harrison -- Chapter Forty-One Seeds = Future (2013) -- PART IV Emerging Ecologies -- Chapter Forty-Two Interview with Katherine McKittrick: (2021) -- Chapter Forty-Three Interview with Doo-Sung-Yoo -- Chapter Forty-Four Interview with Kelly Jazvac -- Chapter Forty-Five A Questionnaire on Materialisms -- Chapter Forty-Six Art as Remembrance and Trace in Post-Conflict Latin America (2016) -- Chapter Forty-Seven Interview With Manuela Rossini -- Chapter Forty-Eight African Afro-futurism -- Chapter Forty-Nine Whose Anthropocene? A Response (2016) -- Chapter Fifty Unruly Edges -- Chapter Fifty-One The Rise of Cheap Nature (2016) -- Chapter Fifty-Two From Forensic Architecture -- Chapter Fifty-Three Letters to Dear Climate (2017) -- Coda -- LIST OF CONTRIBUTORS -- INDEX