Fluid Vision emerges from my experiment on speculative vision using Deleuze’s concept of Rhizome. I started experimenting with the relational assemblages of the eye, camera and body in my photography practice, the body’s entanglement with the ecology, rather than focusing on the product of actualization that is detached: mediated, represented, and already formed. In this sense, the camera becomes a companion specie of our journey. There are no subjects or objects but entangled relations of materialities where heterogeneous agencies intra-act. These layers of photographs are captured by photographers’ body cameras from multiple points of view of bodily encounters constitutive of what a posthuman vision is and will be, an intra-acting phenomenon that forms a rhizomatic vision.
This posthuman vision is ever fluid, acknowledging the dynamic relations of matters and their ecology. Its equipped with layers of magnetic mirrors, a fusion of bodily flesh and a camera lens. The mirror doesn’t reflect instead, it recreates, a topological surface that is always becoming as it navigates the surface: its tentacular vision glides and captures the mundane, the out of frame, it dissolves, transforms, blends, redefines its vision as it interacts with other matters along the ocean. A rhizome is multiple, heterogeneous disrupting binary logic to produce a line of flight. As Its layers of mirrors touch other matters It recreates perceptions based on what it encounters, never discriminating instead, creating an all-inclusive vision. It acknowledges the agencies of multiple matters that make a difference. Its nerve fibres expand to other spaces touching, and infusing while being fused…another perceptual becoming. Such intra-action produces an entangled relationship between the flesh, our clothes, and a host of other material fabrics. It brings to light the notion that the apparatus of knowing and the knower is not separate from what is to be known: rather, part of the phenomenon in its constant becomings. This brings to the fore the body’s entanglement with matters and environment, of apparatuses and bodies such that we are part of the ecology that we are trying to navigate.
Human bodies and technologies cohabit with each other to lifeworlds. They touch; therefore, they are. It is about the action in contact zones. Like an octopus, its tentacular vision captures the mundane. They are in Haraway’s (2008) sense, companion species in the body’s unfolding with the world. “It makes attachments and detachments, cuts and knots, weaves paths and makes a difference” (Haraway, 2016, p. 31). As it weaves trails, the body camera, like other organisms, is a wayfarer.
This posthuman vision continuously moves, creating new territories, and deterritorializing towards the new. This is because the world that we are part of is an imbricated relation of intensities: a network of assemblages that doesn’t sit still.
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