A series of investigations that test the claims of ‘geocinema’ unfolds in four parts. Each follows entangled strands into what these sensing networks might mean through an expanded field of cinema.
Our method takes queues from these techniques of sensing, tracing the ‘hows’ of their stitching processes used for imperial observation, surveillance, verification, and tracking. These processes contribute to a visual culture, whether planned or accidental, co-editing into an archive of and for an uncertain future-present. If this camera, through its montage and intervals, is framing a form of ‘geocinema’, we’d like to point it towards a mode of seeing otherwise.