“…there are other worlds—remote, lonely, silent, far—of strange delicious life. Let us go.”

In 1909, the biologist Jakob von Uexküll noted that every animal exists in its own unique perceptual world — a smorgasbord of sights, smells, sounds and textures that it can sense but that other species might not. These stimuli defined what von Uexküll called the Umwelt — an animal’s bespoke sliver of reality. A tick’s Umwelt is limited to the touch of hair, the odor that emanates from skin and the heat of warm blood. A human’s Umwelt is far wider but doesn’t include the electric fields that sharks and platypuses are privy to, the infrared radiation that rattlesnakes and vampire bats track or the ultraviolet light that most sighted animals can see.

““Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art.””

“I walk with my dream unfurled, and lose myself in my own labyrinths, and the dream unfurled carries me.”