Just so you can’t say I didn’t mention the clouds 117 only to superficial self-optimization and turning our lives into mere posts that, in turn, feed data clouds and consequently con- sume more natural resources, generating more environmental pollution B . reaking free from this illusion requires escaping this vicious cycle. It demands networks of solidarity and the recov- ery of a “political imagination,” as proposed by Nancy Fraser (2009), that enables us to transcend current political realities and challenge the conformity imposed by networks. Rodrigo Nunes (2021) demonstrates how alternative assemblages, both horizontal and vertical, are possible, indicating the need to reimagine not only the technical apparatus but also the organiza- tional and political apparatus, along with the creative and affec- tive strategies of our time. This aligns with Gilles Deleuze and Félix Guattari’s observation: “We do not lack communication; on the contrary, there is too much of it. What we lack is creation, a resistance to the present” (apud Lovink, 2022, p. 8). Facing a global governance system incapable of pro- moting planetary change, T.J. Demos (2016) notes the emer- gence of artistic practices that address environmental issues through alternative formats. These practices, critical of the eco- logical destruction resulting from extractivism, propose creative models that favor environmental sustainability and more egalitarian life structures, exploring fields such as visual arts, alter- native media, and social movements. Jussi Parikka (2016, 2021, 2023) integrates these practices into media archaeology, utilizing methodologies that transcend conventional analyses, form- ing an aesthetically and politically organized field that demands a decolonizing cartography to explore new ways of mapping technological territories. In the field of contemporary art, creative practices that synthesize ideas in direct contact with the public offer clear examples of “terrestrial” mediatization. Two distinct sensibili- ties illustrate this political imagination in practice, involving strategies of resistance that are both investigative and creative, demonstrating how art can be a powerful vehicle for reimagin- ing and transforming our relationship with technology and the environment.
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