such a memory
2025; thermal photo paper, discarded glass
seen from Hong Kong SAR China

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such a memory
2025; thermal photo paper, discarded glass

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The Reticent Volcano, an exhibition by Anne Carson.Ā
Carsonās drawings and paintings of Svartsengi, reproduced thirty-two times with a desktop inkjet printer, each small print with edges tornāāto avoid the brutality of scissorsāāwere repeatedly drawn upon, sewn into, and painted over during an indeterminate span of changing seasons and effusive erupting. āBeginning and ending with winter, I think,ā Carson writes.Ā Carson later assembled the thirty-two volcano works into the form of a scroll (When Youāre Away Time Is Different), a longform intergenre photo-drawing, as if a sentence, of durational time into which Carson continues to work. The result is a repetition of difference that surfaces in my mind Heraklesā words to Geryon in Carsonās Autobiography of Red: āPhotography is a way of playing with perceptual relationships.ā
James Mensch, "A Brief Account of Husserl's Conception of Our Consciousness of Time" in Subjective Time: The Philosophy, Psychology, and Neuroscience of Temporality, ed. Valtteri Arstila and Dan Lloyd
Despite its green image, Ireland has surprisingly little forest. [...] [M]ore than 80% of the island of Ireland was [once] covered in trees. [...] [O]f that 11% of the Republic of Ireland that is [now] forested, the vast majority (9% of the country) is planted with [non-native] spruces like the Sitka spruce [in commercial plantations], a fast growing conifer originally from Alaska which can be harvested after just 15 years. Just 2% of Ireland is covered with native broadleaf trees.
Text by: Martha OāHagan Luff. āIreland has lost almost all of its native forests - hereās how to bring them back.ā The Conversation. 24 February 2023. [Emphasis added.]
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[I]ndustrial [...] oil palm plantations [...] have proliferated in tropical regions in many parts of the world, often built at the expense of mangrove and humid forest lands, with the aim to transform them from 'worthless swamp' to agro-industrial complexes [...]. Another clear case [...] comes from the southernmost area in the Colombian Pacific [...]. Here, since the early 1980s, the forest has been destroyed and communities displaced to give way to oil palm plantations. Inexistent in the 1970s, by the mid-1990s they had expanded to over 30,000 hectares. The monotony of the plantation - row after row of palm as far as you can see, a green desert of sorts - replaced the diverse, heterogenous and entangled world of forest and communities.
Text by: Arturo Escobar. "Thinking-Feeling with the Earth: Territorial Struggles and the Ontological Dimension of the Epistemologies of the South." Revista de Antropologia Iberoamericana Volume 11 Issue 1. 2016. [Emphasis added.]
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But efforts to increase global tree cover to limit climate change have skewed towards erecting plantations of fast-growing trees [...] [because] planting trees can demonstrate results a lot quicker than natural forest restoration. [...] [But] ill-advised tree planting can unleash invasive species [...]. [In India] [t]o maximize how much timber these forests yielded, British foresters planted pines from Europe and North America in extensive plantations in the Himalayan region [...] and introduced acacia trees from Australia [...]. One of these species, wattle (Acacia mearnsii) [...] was planted in [...] the Western Ghats. This area is what scientists all a biodiversity hotspot ā a globally rare ecosystem replete with species. Wattle has since become invasive and taken over much of the regionās mountainous grasslands. Similarly, pine has spread over much of the Himalayas and displaced native oak trees while teak has replaced sal, a native hardwood, in central India. Both oak and sal are valued for [...] fertiliser, medicine and oil. Their loss [...] impoverished many [local and Indigenous people]. [...]
Indiaās national forest policy [...] aims for trees on 33% of the countryās area. Schemes under this policy include plantations consisting of a single species such as eucalyptus or bamboo which grow fast and can increase tree cover quickly, demonstrating success according to this dubious measure. Sometimes these trees are planted in grasslands and other ecosystems where tree cover is naturally low. [...] The success of forest restoration efforts cannot be measured by tree cover alone. The Indian governmentās definition of āforestā still encompasses plantations of a single tree species, orchards and even bamboo, which actually belongs to the grass family. This means that biennial forest surveys cannot quantify how much natural forest has been restored, or convey the consequences of displacing native trees with competitive plantation species or identify if these exotic trees have invaded natural grasslands which have then been falsely recorded as restored forests. [...] Planting trees does not necessarily mean a forest is being restored. And reviving ecosystems in which trees are scarce is important too.
Text by: Dhanapal Govindarajulu. "India was a tree planting laboratory for 200 years - here are the results." The Conversation. 10 August 2023. [Emphasis added.]
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Nations and companies are competing to appropriate the last piece of available āuntappedā forest that can provide the most amount of āenvironmental services.ā [...] When British Empire forestry was first established as a disciplinary practice in India, [...] it proscribed private interests and initiated a new system of forest management based on a logic of utilitarian [extraction] [...]. Rather than the actual survival of plants or animals, the goal of this forestry was focused on preventing the exhaustion of resource extraction. [...]
Text by: Daniel Fernandez and Alon Schwabe. "The Offsetted." e-flux Architecture (Positions). November 2013. [Emphasis added.]
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At first glance, the statistics tell a hopeful story: Chileās forests are expanding. [ā¦] On the ground, however, a different scene plays out: monocultures have replaced diverse natural forests [...]. At the crux of these [...] narratives is the definition of a single word: āforest.ā [...] Pinochetās wave of [...] [laws] included Forest Ordinance 701, passed in 1974, which subsidized the expansion of tree plantations [...] and gave the National Forestry Corporation control of Mapuche lands. This law set in motion an enormous expansion in fiber-farms, which are vast expanses of monoculture plantations Pinus radiata and Eucalyptus species grown for paper manufacturing and timber. [T]hese new plantations replaced native forests [ā¦]. According to a recent study in Landscape and Urban Planning, timber plantations expanded by a factor of ten from 1975 to 2007, and now occupy 43 percent of the South-central Chilean landscape. [...] While the confusion surrounding the definition of āforestā may appear to be an issue of semantics, Dr. Francis Putz [...] warns otherwise in a recent review published in Biotropica. [ā¦] Monoculture plantations are optimized for a single product, whereas native forests offer [...] water regulation, hosting biodiversity, and building soil fertility. [...][A]ccording to Putz, the distinction between plantations and native forests needs to be made clear. ā[...] [A]nd the point that plantations are NOT forests needs to be made repeatedly [...]."
Text by: Julian Moll-Rocek. āWhen forests arenāt really forests: the high cost of Chileās tree plantations.ā Mongabay. 18 August 2014. [Emphasis added.]
āAutumn poses the question we all have to live with: How to hold on to the things we love even though we know that we and they are dying. How to see the world as it is, yet find light within that truth.ā
ā Pico Iyer, from Autumn Light: Season of Fire and Farewells (Alfred A. Knopf, 2019)

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Controversial Opinion: Long Story Short
My unpopular opinion is that Long Story Short is just as good, or even slightly better than, Bojack Horseman. I get people will probably disagree due to it feeling like a "less fun" version of Bojack. And it is. It is a less fun Bojack. That does not make it less good. You wouldn't critique the Phantom of the Opera as a comedy, it is like judging a fish on how well it can climb a tree.
My point being that Bojack Horseman was more comedic and it made excellent use of absurdist comedy and philosophy. But Long Story Short is more grounded and realistic. The jokes are dryer and the absurd plots feel almost non-committal in comparison to Bojack's irreverent commitment to the strange and surreal.
It's not Bojack.
But structurally, this series is far cleaner. The writing is tighter, the episodic arcs are deliberately engineered to support the overarching themes of Death, Love, Abuse, Family, and Identity in a way that is "better" than Bojack's writing.
That doesn't make Bojack bad, it was just a bit more unfocused in order to be appealing to larger audiences and it was designed to accommodate that slack as well. Bojack is still masterfully done, it is a herald to what competent showrunning can look like. The meta-structuring of Bojack granted the absurd which provided structural support for aspects that may feel "unnecessary" in a technical sense.
That's the difference between indulgence and artistic choice.
And Not to say Long Story Short is not absurd, it absolutely is. It is still cartoonishly silly, so please don't misunderstand. The scale is compared to Bojack, and the general commitment to "realistic in setup, absurd in execution" does come off as less "fun". It's both too real (the world, characters, conflicts, emotions) and too insane (Yoshi and Todd would be best friends) to really "connect" for some people, but my argument is that the point is not about connecting with the stories as much as it is connecting with the characters.
But what is the difference?
Traditionally, the idea of "connecting with characters" is intrinsically tied to some kind of plot. The plot in Long Story Short is life.
The angle comes from seeing life as emotionally universal, constantly building on itself while simultaneously repeating loops, and how our lives echo out onto the lives of those around us.
Because what gives our lives meaning are the other people in our lives.
Between the shows Bojack Horseman, Inside, and Long Story Short, I think this is the most intimately existential story Bob-Waksberg has told yet. I honestly think it's an ambitious project that is taking everything learned from his previous shows to explore the connections between Time and Meaning to contemplate the value of Life.
Temporality