An opening of restricted and restrictive hardcopy formats and archives
Challenging and expanding traditional/colonial conceptions of academic validation
African, diasporic and south led knowledge production through Creative Research
Decolonising creative research
Online and interactive journal for creative research from the Global South
Ellipses is an experiment in form, supporting multi and cross-disciplinary work
About
About us
ISSN: 2788-841X Publisher: Wits School of the Arts, University of the Witwatersrand, 1 Jan Smuts Avenue, Braamfontein, Johannesburg, South Africa
Editor in Chief: Zen Marie (PhD) Managing Editors: Carly Whitaker (PhD), Naadira Patel, Tammy Langtry. Senior Digital Editor: Tamara Tesoriero
Service Board:
Andrea Hayes Bettina Malcomess (PhD) Brigitta Stone-Johnson (PhD) Cameron Harris (PhD) Jurgen Meekel Kitso Lelliott (PhD) Oluwarotimi Randle (PhD)
Spatial Praxis Editorial Collective:
Brigitta Stone-Johnson (PhD) Huda Tayob (PhD) Manijeh Verghese Nothando Lunga Naadira Patel Sarah de Villiers Stefan Winter (PhD)
Framing Statement & Objectives of […]
[...] ellipses denotes a grammatical troubling, an opening or caesura in the linear flow of a sentence, marking intentional omission, absent content. Alternatively, the application of ellipses... as aposiopesis signals a certain trailing off, a sentence ending or not ending in the suspension of unresolved thought… It resists pronunciation or being easily saved as a file or turned into a URL. For these deviant, troubling and open-ended features, ellipses […] – applied without prefix or suffix – works as a conceptual space or marker hospitable to the contingent, collaborative and multi/cross-disciplinary work of creative research in the global south supported by this digital and online journal.
What discourses, paradigms, tropes or structures shape or censor different kinds of knowledge production, and how can alternative modes of meaning-making imagine and make possible a more just and livable world? ellipses asks these questions from an explicitly Global South perspective – rooted in the local, open to the diasporic and informed by a range of practices, processes and tactics that deviate from conventional, analytical and colonial modes of knowledge production. ellipses is a collaborative platform, drawing editors and contributors into creative dialogue with digital arts practitioners, and encouraging interactive and digitally published scholarship that extends beyond the rarefied space of the academy. It is an experiment with form, prioritising sonic, visual, oral, performative, visceral, embodied, spatial and temporal modalities of practice, invested in questions of why, how and for whom knowledge is produced, and by what criteria deemed ‘valid’. ellipses supports a growing community of scholars, artists, curators, creative practitioners and collectives, thinking and working in and from the Global South. In each issue ellipses is imagined as another opportunity to rethink the ways in which creative research and the ‘aesthetic’ is bound to the machinations of dominant knowledge economies, and to creatively explore more enabling, and culturally responsive modes of meaning-making.
ellipses was founded by a collective of artists in 2015 at the Wits School of Arts as a multi/cross-disciplinary, digital, online and interactive journal for creative research, by collective responsive to the urgent political demand for the decolonisation of knowledge and the university mobilised by #rhodesmustfall and #feesmustfall. The journal is supported by the Wits School of Art, steered by a local, regional and international appointed Editorial Board ellipses has published four issues to date, and one special edition. ellipses publishes annually, with issue V scheduled release in September 2025.
The first issue of ellipses was marked by a process both pragmatic and speculative and is product of grant money from WITS University’s SPARC fund, and as such was designed to function as an accredited journal located within the WITS School of Arts (WSOA). The second issue of ellipses and four that follow were supported by Art Research Africa, developing Creative and Artistic Research within the Wits School of Arts and supported by The Andrew W. Mellon Foundation.
[...] ellipses is located within the WITS School of Arts, and owes much to the energy and commitment of its staff and students. ellipses prioritises partnerships and currently is working on special issues with SWOP (Society Work and Politics) at WITS, The Bartlett School of Architecture (UCL).
[...] ellipses is additionally funded by the Graham Foundation for Advanced Studies in the Fine Arts.
Aims of […]
[…] is a platform for Creative Research from the Global South, with an emphasis on African and diasporic practices of knowledge production.
For […] Creative Research encompasses artistic research, practice-led research and research as creative practice, all of which are acknowledged as submissible forms of research and valid methodologies of knowledge formation.
[…] aims to reflect Global South approaches to critical artistic research as support for decolonial practices. Inviting disenfranchised and new methodologies of knowledge production to both challenge and expand traditional/colonial conceptions of academic research and validity in academic research.
[…] seeks to trouble the established knowledge economy of the university and academia, and the ways in which ’research’ is produced, governed and circulated (or withheld), by presenting (and re-centering) decolonial creative research as open-access content on an interactive online platform.
[…] is an experiment in form, supporting multi and cross-disciplinary work in which conventional written research practices are productively intertwined with new media, audio, visual and interactive forms of production and publication in the digital.
[…] embraces Creative Research work across a broad range of disciplines, pushing the digital humanities into productive dialogue with the visual and performing arts, music, sociology, anthropology, African Literature, architecture and other fields of cultural and creative study.
[…] aims to make transparent the processes and critical developments involved in its approach to, and support of, creative research work, reflecting the journal’s stated commitment to decolonising knowledge and research methodologies.
[…] holds digital production and dissemination within the context of global souths, as an opening of restricted and restrictive hardcopy formats and archives, and an opening of methods and channels in its aim to decolonise creative research and knowledge production.
[...] AI Policy for Creative Research
[...] ellipses recognises the evolving role of artificial intelligence (AI) in creative research and its potential to support authors, artists, and researchers in the conceptualisation, articulation, and dissemination of knowledge. We welcome the use of AI tools—including large language models (LLMs) and generative systems—as part of a broader ecology of creative practice, where they may assist in generating ideas, refining language, structuring submissions, and exploring speculative or experimental forms.
However, [...] affirms that AI technologies cannot replicate the embodied, situated, and transversal dimensions of creative and critical inquiry. The politics of creative research—especially as practised in and from the Global South—demand attentiveness to authorship, voice, and the socio-material conditions of knowledge production. AI must be engaged not as a neutral tool, but as a participant in the politics of representation, mediation, and meaning-making.
This policy encourages contributors, reviewers, and editors to approach AI use with ethical and critical awareness. AI-generated content should be transparently acknowledged, and its role in the research process should be clearly situated within the submission’s conceptual and methodological framework. We discourage the use of AI to simulate or replace creative voice, particularly where it risks flattening cultural nuance, erasing lived experience, or reproducing dominant epistemologies.
[...] supports experimentation with form—including digital, sonic, visual, and performative modalities—and invites contributors to reflect on how AI might be modulated within these practices, rather than simply deployed. We ask that authors consider the implications of AI use in relation to the journal’s commitment to decolonising knowledge, challenging extractive paradigms, and fostering collaborative, multi-disciplinary engagements.
Open Calls
[...] Open Calls
[...] Periodically releases open calls directed at creative practitioners and academics alike, encouraging critical discourse in the realm of the arts, creative practice and nonconventional knowledge production. In line with the aims of [...], all submissions should meet the call's criteria as it is outlined below.
Peer Review & Critical Knowledge Engagement in […]
ellipses is a not for profit journal based at the WITS School of Arts. It is open access and relies on voluntary work by academics and artists alike. The Journal provides a platform for dissemination and critical exploration of creative or artistic research.
We are a peer reviewed journal and published submissions will be provided with official documentation that guarantees the bona fides of the peer review process. At present we are not able to provide authors fees, and are in the process of a renewed Department of Higher Education and Training (DHET) journal accreditation.
Peer Review Process
Submission, shortlisting and peer reviews are conducted online in a protected and archived submission system. Selection and review follow this process:
Editorial Selection and Review: an initial shortlisting of submissions is conducted by the Issue Editor/s. This shortlisting is aimed at identifying:
Submissions that respond to the open call and align with the thematic or critical knowledge concern the issue in question.
Assuring balanced representation in the submissions being put forward for peer review.
Editorial Board & Double Blind Peer Review is conducted against shortlisted submissions, this is done by both a panel of elected peer reviewers and selected members of the Editorial Board. Reviewers assess the following:
Submissions meet the submission criteria of the issue and Journal and align with the aims of the Journal (see above), which will include:
The extent to which the submission engages critically and creatively with questions of knowledge production.
The extent to which the submission acts as a meaningful contribution to knowledge making on/in creative decolonial research related to the Global South.
Has no legal or ethical concerns.
Review Outcomes will be sent directly to authors by the Editor in Chief and Issue Editors as one of the following outcomes and with instructions for next steps:
Accepted for publication as proposed in the submission.
Request a revision on aspects of the submission before acceptance.
Rejected for publication (to be accompanied with reasons for the rejection).
Critical Engagement & Knowledge Transparency
[…] Ellipses Journal for Creative Research is committed to opening up and making transparent the processes of criticality and knowledge development for Creative Research in the Global South. In an act towards radicalising the methods of generation, review, development and publication, our issues are subject to any of the following:
Open to Editorial Teams for Issues: we understand that knowledge and critical engagement in the Global South more often than not takes place within communities of practice rather than with individuals. We therefore encourage the election of editors and editorial teams from collectives, partnerships and knowledge collectives.
Post Review Publication: in following the historical trajectory of Ellipses and its founding in the collective production of its first issue aimed at knowledge production transparency – we ask for post and some pre-publication reviews to be published alongside published research submissions.
Community Knowledge Engagements: following publication Ellipses aims to bring the published research into an engagement with a community of practice in Creative Research, in the global south and its diaspora. This is done by working with editors and editorial teams to develop knowledge events or actions that aim to expand visibility and further engagement with the themes and methodologies of the issue and research in question.
[…] Reviewers
Amie Soudien
Annie Paul
Athena Mazarakis
Athi Mongezeleli Joja
Bettina Malcomess
Carine Zaayman
Cathérine Hug
Christo Doherty
Clare Loveday
Danai Mupotsa
Diana Ibanez Lopez
Edda Sickinger
Ernst van der Wal
Etienne Viviers
Fabian Saptouw
Francis Burger
George E. Lewis
George Mahashe
Gwen Miller
James Macdonald
Janine Allen-Spies
Joanna Grabski
Joshua Reno
Juanita Praeg
Kurt Campbell
Lionel Manga
Louise Hall
Maria Ines Rodriguez
Michelle Stewart
Mika Conradie
Mokale Koapeng
Naadira Patel
Natalia Esling
Nathanie Luneburg
Nishlyn Ramanna
Raél Jero Salley
Sarah de Villiers
Thandi Loewenson
Theo Herbst
Ulrich Süsse
Victoria Ogoegbunam Okoye
Vulindlela Nyoni
Zoé Samudzi
Editorial Board
Editorial Board
[…] ellipses Journal of Creative Research is managed by the Editor in Chief along with the Managing Editors and Senior Digital Editor.
The Editor in Chief is supported by an Editorial Board made up of Wits School of Arts, non Wits affiliated Regional members and non Wits affiliated International members.
WITS School of the Arts Board
Prof. René Smith Head of the Wits School of the Arts. René Smith has taught at a variety of institutions of higher education in South Africa and worked across sectors on a diverse range of projects including gender mainstreaming and integration; a review of South Africa's communications Regulator and unearthing Labour archives towards a public mobile exhibition. She has served on a number of governing boards, and has been a member of the Institute of Directors of Southern Africa since 2009. She completed her BA Hons at Falmouth College of Arts, now Falmouth University in the United Kingdom. She has a MA cum laude and a PhD in Media & Cultural Studies from University of KwaZulu-Natal.
Prof. Christo Doherty is Associate Professor working across the Wits School of Arts, and the WITS Innovation Centre (WIC) at the University of the Witwatersrand.
Bettina Malcomess (PhD) is a writer, academic and artist. Her work exists in a diverse set of media and forms, ranging from long duration performance, to the staging of shorter interventions, and installation projects to the book as site of practice. She produces performances under the name Anne Historical. Malcomess’ writing traverses art, film, history, urbanism, as well as fiction. She co-authored the book Not No Place. Johannesburg, Fragments of Spaces and Times (Jacana, 2013). She was the visual editor of the book Routes and Rites to the City: Mobility, Diversity and Religious Space in Johannesburg (Palgrave, 2017). She has recently formed an interdisciplinary project called the joining room, a non|space for intermedial intimacies. Historical/Malcomess’ work has shown at various national and international exhibitions and spaces. She is a lecturer in Visual Arts at Wits School of Arts and is currently doing a PhD in Film Studies at Kings College, London.
(Chair) Zen Marie (PhD) is an artist, filmmaker and educator based in Johannesburg, South Africa. His practice and research engage video, film, photography, performance, and writing, using site-specific or relational processes to critically explore power relations within spaces. Marie holds a Doctor of Philosophy in Fine Art from the University of the Witwatersrand (WITS), an MA in Cultural Analysis from the University of Amsterdam (with distinction) a Bachelor of Arts in Fine Art from the University of Cape Town (with distinction) and is a past participant of the prestigious 'de ateliers' program in Amsterdam. Marie is also HoD of the Department of Fine Art at WITS University, where he has taught since his appointment in 2009.
Regional Board Members
Molemo Moiloa lives and works in Johannesburg, and has worked in various capacities at the intersection of creative practice and community organizing. She currently works on notions of ungovernability, social infrastructures of cultural organizing, and relationships to nature. She is one half of the artist collaborative MADEYOULOOK, who explore everyday popular imaginaries and their modalities for knowledge production. She currently leads research at Andani.Africa, with a focus on open restitution debates and is one of the inaugural AfricaNoFilter Fellows 2020/2021 for this subject. MADEYOULOOK was nominated for the Vera List Center Prize for Art and Politics 2016/17 at the New School, New York. Molemo was also a Chevening Clore Fellow 2016/17, and winner of a Vita Basadi Award for 2017.
Prof. Vulindlela Nyoni is Head of the Head of Department (Visual Arts), Nelson Mandela University. Nyoni was born in Chilimanzi, Zimbabwe in 1976 and attained a Bachelor of Arts in the Fine Arts from the then University of Natal in 1998 and a Masters in fine Arts from the now University of KwaZulu-Natal in 2006. His Masters thesis was entitled “Representations of ‘other’ in selected South African artworks: Re-membering the black male body”. Prior to moving to Port Elizabeth, Nyoni was the Academic Coordinator of the Centre for Visual Art, University of KwaZulu-Natal (Pietermaritzburg), and Senior Lecturer in printmaking at Stellenbosch University. Apart from being a practicing artist, Nyoni also lectures in Printmaking at Nelson Mandela Metropolitan University. His main interests lie in Diaspora studies, Gender and Sexuality; and the politics of representation and self-representation through print media. He continues to make his own work at any opportunity he has.
Zoé Samudzi (PhD) is a writer whose work has appeared in The New Inquiry, Verso, The New Republic, Daily Beast, Art in America, Hyperallergic, ROAR Magazine, Teen Vogue, Arts.Black, and other outlets. She is a contributing writer at Jewish Currents. She is also a photographer and was an archivist with MATATU Nomadic Cinema. Along with William C. Anderson, she is the co-author of As Black as Resistance: Finding the Conditions for Our Liberation (AK Press). She is currently a fellow with Political Research Associates. She is represented by Alison Lewis at the Zoë Pagnamenta Agency.
International Board Members
Prof Raél Jero Salley is an artist, professor, speaker & writer. Salley is the Founding Director of The Space for Creative Black Imagination, the Chair of the Department of Art History, Theory, and Criticism at the Maryland Institute College of Art (MICA), Visiting Faculty at the University of California, Los Angeles (UCLA), and former faculty at the University of Cape Town in South Africa (UCT). Raél (rah-El) is also a martial arts instructor, a yoga instructor, a plant lover, and Mazie’s grandson. Find more at www.raelsalley.studio.
Reece Auguste is Assistant Professor, University of Boulder in Colorado (USA). He is a documentary filmmaker and scholar whose research focuses on national cinemas, transnational screen cultures and documentary media practices. He was a co-founder of the seminal Black Audio Film Collective, which was at the forefront of radical filmmaking in ‘80s and ‘90s Britain. With BAFC, Auguste wrote and directed the award winning Twilight City and Mysteries of July. His essays on screen aesthetics and documentary practices have appeared in Framework, Cineaction, Undercut, Journal of Media Practice, The British Avant-Garde Film 1926-1995, Questions of Third Cinema, Dark Eros, The Encyclopedia of Southern Culture: Media and The Ghosts of Songs: The Film Art of the Black Audio Film Collective. He is the recipient of the Grand Prize at Melbourne International Film Festival; Josef Von Sternberg Award, for most original film of the Mannheim International Film Festival, Golden Hugo Award for best Documentary at the Chicago International Film Festival, and the International Documentary Association.
George Shire is a London based, Zimbabwean cultural theorist, self styled Bandungist and historian of ideas who has been engaged with questions of knowledge from the global south, with visual culture and decolonisation, and with tracking histories of art education in Southern Africa. His intellectual interests are moored inside the cultural studies tradition set out by Stuart Hall. His research interests are primarily in the intersections of artistic and political practice; working at the intersection of black studies, the place of colonialism in the making of modernity, and the material and technical politics of the Indian ocean. He is a member of the international editorial boards of the British New Left Journal “Soundings” and the peer reviewed journal DarkMatter. He previously taught at the Richmond Upon Thames College, London; the Open University; Central Saint Martin’s College of Art & Design, University of the Arts London; and Birkbeck College, University of London. He is a DJ, Jazz Saxophone player and I-Phone Photographer.
Contact
Contact Us
To make any inquiries or learn more about the journal, please contact the [...] Ellipses editorial team directly at: ellipseswits2@gmail.com
Please ensure to describe the nature of your enquiry in the subject line.
Published by The Wits School of the Arts University of the Witwatersrand, South Africa
Unlearning Intelligence: AI, geology, and shadow worlds
Beneath every intelligence lie seams of matter, labour and agency. This issue thinks with the ground, considering visuality as a method of excavation, tracing the routes along which knowledge has been extracted, stored, and set into circulation. From there it moves upward and outward, into the signal, image, body, the dream, where intelligence grows more elusive but remains no less material.
Since the launch of ChatGPT in 2022 and the DeepSeek Chatbot in January 2025, AI has become embedded in the habits and material of everyday life, including creative production. Every search, every use of an LLM acts upon the world, as much as it describes it, raising considerations for which knowledge systems and languages are privileged and where power aggregates, even as it rewrites the geological relations between humans and the earth.
This issue of [...] ellipses takes as a prompt this evolving context, to ask how we might engage with this world, where climate change, AI, territorial mapping and extractivist processes are entangled in our screens and smartphones - simultaneously distant and proximate. The device in the hand holds the mine, the cable and the data centre, folding the planetary into the intimate. At this shifting scale, the measures by which we come to know the world begin to slip. Taking this slippage as its prompt, Unlearning Intelligence sets out to question, probe and unlearn, in some way, what we know about ‘intelligence’: how it is measured, quantified, framed and understood. The call invited responses on how we might understand, speak to and engage with these ongoing and entangled relationships, asking what happens where the cloud meets the land; what is hidden, and what is revealed, in these encounters.
In ‘The Climate of History: Four Theses’, Dipesh Chakrabarty points to the urgency of engaging with climate scientists, drawing the debate into proximity with postcolonial critiques of global history and the political economy of capitalism. For Chakrabarty, climate science asks us to think with the limits of history, where humans are geological and biological, as much as they are historical subjects. As he writes, “The discussion about the crisis of climate change can thus produce affect and knowledge about collective human pasts and futures that work at the limits of historical understanding. We experience specific effects of the crisis but not the whole phenomenon.”1 At the same time, as Kathryn Yusoff reminds us, we cannot disavow the history of racial categories of difference, violence and dispossession enabled through geological categorisation.2 The geologic now of the Anthropocene has become entangled with the now of human history.3
The articles in this issue take on these entanglements, through creative practice as ways of knowing. Jewellery making, installation, sound, mapping and dream interpretation become methods for working with knowledge. They set the vast beside the unseen: the planetary reach of data infrastructure beside the sediment of a cave floor, the hum of a cooling system beside a dream. In each case, AI takes place. Its infrastructures occupy land, draw water, reroute labour and redraw territory, and this spatiality brings it within reach of creative practice, where it intersects with ground, matter and visual frame. They move from questions of the geological underpinnings and shadow worlds of AI; to the production of images, mapping and countermapping, that shape how we see and therefore understand the world; to responses that think with the limits of the technological world, inviting a return to intelligence as embodied, sensory and ancestral. Together they ask for a relational engagement with intelligence and knowledge production.
The call to understand media as geological is asking for an attendance to the materiality of technology, an attention to constant play between visibility and invisibility. For Jussi Parikka, “the grounds, ungrounds and undergrounds of media infrastructures condition what is visible and what is invisible. Under the ground, one finds the subterranean infrastructures of modernity: telecommunications cables as much as sewage systems, metro trains and electricity.”4 Algorithmic systems operate alongside geological extraction—sectioning, indexing and commodifying knowledge, personal connections, our attention—as material resources, and provoke questions of space and geography, as much as climate and geology. In this issue, Angela Ka Ki Lee and Chris Tegho turn to the counterinfrastructure of Lebanon and the DRC, asking us to look at the shadow worlds of digital infrastructures as material sites of improvisation, adaptation and negotiation; while Claudio Astudillo Barra draws our attention to lithium mines of Chile, where the infrastructural landscape might appear to be stable and aestheticised yet remains highly contested and political. Nina Barnett turns to the Vaal Dam, as a means to make Large Language model systems tangible.
These geological sites are also sites of image-making, where their mapping, representation and countermapping are a means to engage with the limits and possibility of visibility. Surveys benefit from satellite-enabled remote sensing, linked not just to space, but mapping corporate and national interests, operating as mass surveillance.5 The ‘cloud’ is a building, a mine, a factory and a dump site. It runs on cooling systems, high amounts of energy, and alongside the ‘high-technical and low-paid culture of digitality’. There are deep times and deep places that support the social and material worlds that enable our screens and devices. Hyeongji Yang’s writing takes on the invisible infrastructure of neocolonialism with a focus on Vietnam’s REDD+ carbon offset project, drawing attention to and mapping pitch as a means to ‘listening in’ rather than ‘listening to’, in order to ask whose voices are heard, and whose are omitted in image-based forms of representation. Florian Scheucher similarly turns to the invisible reverberations transmitted through the solid matter of the earth’s crust, to speak to the violence of sonic mapping, and think with the possibilities of sound as an alternative way of sensing, perceiving and producing relations. Salome Kipiani’s work thinks across the shadow labour worlds of Kenyan content moderators, to the indigenous contestation over the Salar de Atacama by the Lickanantay, opening up the possibility of visibility for territorial legibility and therefore accountability both adopting and complicating the idea of a countermap. George Themistokleous’s ‘Operating Table’ in Cyprus asks us if it is possible to think of the image without a subject, provoking the possibility of a new kind of collective subjectivity which exceeds the nation-state where the new algorithmic image is not only a site of militarisation, but an opening to another form of relation.
Beyond a critique of technological worlds, several texts move us to reconsider embodied, sensory and ancestral forms of intelligence that go beyond the technological. They respond to the violence of late capitalism, through opening up questions of narrative, process, dream worlds and multi-sensory engagements. Wider forms of knowing here, ask us to take seriously somatic knowing as cultural and biological, recentering the collective subject through generational knowledge and sensory forms of knowing. Patricia Domingues’s work of splitting, fracturing, cutting and opening in jewellery making engages with geological and industrial histories; Hiba Ali’s ‘ecosomatics’ argues for a grounded sensory experience of the present environment and the possibility of dream worlds. Charmaine Bee centres dreams and ancestral knowledge in the afterlives of trauma, exploring dream interpretation as a form of technology that precedes and goes deeper than any chatbot interpretation might offer; while Aaniyah Martin, Amy Rusch, Sarah Wurz, and Meghan Judge look to Klasies River Cave and one of the earliest sites of Homo sapiens asking how embodied, relational and more-than-human ways of knowing might unsettle dominant readings of intelligence and archaeology grounded in extraction.
Across these contributions that move from ground, to image and body, we are invited, often through resistant creative practice, to attend to what is obscured and unresolved in the context of intelligence and data. In considering historical rupture shaped by subjugation and displacement of former knowledges, where bodies and histories settle like strata beneath a subsuming erasure. As Glissant writes, despite the violence of history, “The abyss is also a projection of and a perspective into the unknown.”6 It is an element of exchange, and the opening for new forms of relation. The articles in this special issue invite a situated engagement with intelligence and associated violent histories; they question visualities of data and prompt embodied responses, material engagements with communities, land, and water; and they collectively reposition digital infrastructure within a space of encounter and always in relation.
1 Chakrabarty, D. (2009). “The Climate of History: Four Theses” in Critical Inquiry, Vol. 35, no.2 (Winter 2009), p. 221.
2 Yusoff, K. (2018). A Billion Black Anthropocenes or None. Minneapolis: University of Minnesota Press.
3 Chakrabarty, D. (2009). “The Climate of History: Four Theses” in Critical Inquiry, Vol. 35, no.2 (Winter 2009), p. 212.
Huda Tayob is a South African architect and architectural historian. She is a lecturer in Architectural Studies at the University of Manchester, and has previously taught at the University of Cape Town, University of Johannesburg and the Bartlett School of Architecture. She is a Mellon Fellow on the Canadian Centre for Architecture project, Centring Africa (2019 - 2022). Her research focuses on minor, migrant and subaltern architectures, centred on the African continent. She is co-curator of the open access curriculum Racespacearchitecture.org, and lead co-curator of the digital exhibition, Archive of Forgetfulness.
Naadira Patel
About Naadira Patel
Naadira Patel is a Visual Artist, Graphic Designer and Arts and Architecture Lecturer. She currently leads studiostudioworkwork, a multidisciplinary art, research and design studio covering a range of publishing related practices with a focus on issues of social justice, new surveillance landscapes, and questions surrounding productivity and work. She has an MA in Cultural Analysis (2015) from the University of Amsterdam’s School for Cultural Analysis, and a BA Fine Arts (2010) from the Wits School of Arts. Naadira currently co-teaches in the Unit18: Hyperreal Prototypes program at the Graduate School of Architecture at the University of Johannesburg alongside Sarah de Villiers. Her research areas cover issues arising from new forms of technology that shape, manipulate or augment our experiences of and our existence within the world; emerging forms of surveillance capitalism; and questions on the new world of work, with a focus on ideas of precarious labour, and productivity.
Sarah de Villiers
About Sarah de Villiers
Digital & Design Editors
Naadira Patel
About Naadira Patel
Naadira Patel is a Johannesburg based artist, designer and curator whose practice focuses on contemporary visual culture, spatial politics, technology, cultural trends and new media.Her interdisciplinary curatorial and design practice is dedicated to intersectional, collaborative, and experimental publication and design approaches to artistic, cultural, architectural, feminist and social justice work. Her practice takes form through exhibitions, installations, site-specific interventions, publication design and public programming. She is part of the international artist collective Imperfect Futures and is on the editorial team of […] ellipses Journal for Creative Research. Naadira holds a research MA in Cultural Analysis from the University of Amsterdam and has lectured at the Wits School of Arts and the UJ Graduate School of Architecture as a co-lead for Unit18. Her work includes projects with Wolff Architects, African Centre for Cities, Canadian Centre for Architecture, African Futures Institute, La Biennale di Venezia, Zeitz MOCAA, JCAF, and feminist networks globally.
Tamara Tesoriero
About Tamara Tesoriero
Tamara is a researcher, digital artist and writer based in Johannesburg, South Africa. Her work centers new media, interactivity and system design, and exercises a particular interest in how digital technologies participate in the production, dissemination and reception of creative and cultural objects - and what this might mean in the context of authorship, creative practice and even humanity as a whole. In addition, she is a passionate educator with a focus on critical pedagogies and citizenship, particularly within the realm of art and design education.
Angela Ka Ki Lee is a Hong Kong-born architect and professor based in France. Her practice, HAAU architecture studio, develops an interdisciplinary approach across architecture, research, curatorial practice, and public engagement.
Her work explores the tensions between physical and digital matter and the invisible metabolisms that shape them, tracing infrastructures from the body to the planetary scale. Through research, design, and public engagement, she investigates how material practices intersect with energy transitions and extractive infrastructures, developing approaches to counter-infrastructure and relational forms of spatial practice.
She has previously contributed to award-winning projects that integrate biodiversity and scientific research into the built environment. In 2025, she was awarded a research fellowship within the Planetary Transitions programme, collaborating with the Research Institute for Sustainability in Potsdam and the GFZ Helmholtz Centre for Geosciences.
Chris Tegho
Chris Tegho
Chris Tegho is a multidisciplinary artist and machine learning engineer from Lebanon and the UK, whose practice spans movement, code, 3D modelling, and material exploration. They investigate how technology shapes emotion, identity, and perception. Their work is grounded in questions of queer belonging and the creation of ecosystems that embrace multiplicity and difference, examining how we perceive the machine, situate technology in relation to the body, and imagine forms of more-than-human intelligence. They have collaborated with numerous artists, including Jazmin Morris (When TRex Dreams of Mangoes and Figs) and Zach Blas (CULTUS, Profundior, The Doors), and they are co-founders of Disruptive Nostalgia, a collective reimagining cultural memory and landscape through intersectional politics. Through their work, Chris develops practices that position queer and embodied perspectives as central to rethinking technological futures.
Digital Editor
Tamara Tesoriero
Tamara Tesoriero
Tamara is a researcher, digital artist and writer based in Johannesburg, South Africa. Her work centers new media, interactivity and system design, and exercises a particular interest in how digital technologies participate in the production, dissemination and reception of creative and cultural objects - and what this might mean in the context of authorship, creative practice and even humanity as a whole. In addition, she is a passionate educator with a focus on critical pedagogies and citizenship, particularly within the realm of art and design education.
Peer Reviews
No items found.
Abstract
Artificial intelligence is often perceived as an immaterial flow of data and algorithms. Yet the infrastructures that sustain contemporary AI depend on extensive extraction of minerals, energy, and labour. This paper examines the limits of technocentric intelligence within current sustainability discourses, largely structured around metric optimisation, and proposes an alternative: situated geological intelligence – a form of knowing that resists metric quantification.
While artificial intelligence privileges forms of knowledge grounded in measurement and predictive modelling, extractive territories reveal alternative modes of intelligence: embodied, improvisational, and relationally engaged with material and geological conditions.
Drawing on interdisciplinary research, including case studies of improvised electrical infrastructures in Lebanon and extractive landscapes in Lubumbashi, Democratic Republic of the Congo, this research explores how knowledge about the ground emerges through interactions between bodies, communities, and geological matter. These practices are examined as investigative methods capable of revealing infrastructures that often remain invisible within metric representations of the planetary. Artistic practice extends this inquiry, reading play as a situated engagement with labour and the ground.
This embodied knowledge functions as a form of situated intelligence, connecting bodies to planetary infrastructures. In mining environments, bodily labour operates as adaptive knowledge responding to the ground’s geological properties, while artistic interventions reframe extractive landscapes as spaces of collective negotiation and experimentation.
Rather than rejecting technological systems, the paper argues for a pluralistic understanding of intelligence in which data-driven systems coexist with embodied, territorial, and relational forms of knowledge. Such an approach enables more situated, socially inclusive, and ecologically grounded ways of engaging with planetary infrastructures in the age of artificial intelligence.
Tamara Tesoriero
Tamara is a researcher, digital artist and writer based in Johannesburg, South Africa. Her work centers new media, interactivity and system design, and exercises a particular interest in how digital technologies participate in the production, dissemination and reception of creative and cultural objects - and what this might mean in the context of authorship, creative practice and even humanity as a whole. In addition, she is a passionate educator with a focus on critical pedagogies and citizenship, particularly within the realm of art and design education.
Less than a decade ago, media theorist Jussi Parikka called for a geological understanding of media, arguing that digital technologies cannot be separated from the material systems that sustain them. Digital infrastructures are embedded within layers of minerals, labour, energy, and logistical networks that extend from local environments to planetary scale. What appears as seamless information is supported by vast extractive systems operating along a vertical axis, from deep subsurface mining to buildings, energy grids, data centres, and orbital satellites (Parikka 2015, p. 4).
These infrastructures are not composed of minerals and machines alone; they are produced and maintained through human labour. Mining regions are inhabited environments shaped by long histories of ecological knowledge, survival, and adaptation. Communities living in these territories develop situated understandings of land, materials, and environmental change through everyday bodily encounters with the ground.
Artificial intelligence emerges within this expanding landscape of material infrastructure. Recent advances in artificial intelligence, both in computational methods and specialised hardware, have intensified the entanglement between digital systems and planetary infrastructures. Contemporary AI relies on large neural networks trained on massive datasets, supported by specialised hardware such as graphics processing units (GPUs) and tensor processing units (TPUs). Training and operating these systems requires extraordinary levels of computational power, energy consumption, and mineral resources (Strubell et al. 2020). The digital economy therefore depends on global supply chains of energy and minerals, making the environmental and material impacts of digital infrastructures increasingly visible. Artificial intelligence is therefore a geological and extractive system that reorganises matter and energy at a planetary scale, as much as it is a technological one.
Parikka further emphasises that our relationship with the Earth is mediated through technologies of visualisation such as remote sensing, mapping, measurement, and computation (Parikka 2015, p. 12). These techniques increasingly translate environmental processes, geological formations, and atmospheric systems into datasets that are analysed and modelled computationally.
At the same time, AI contributes to a paradox of visibility. As art critic Kirsty Bell observes, artificial intelligence appears to offer limitless synthetic creativity. Almost any conceivable image can now be produced algorithmically (Bell 2026). Yet this apparent immaterial creativity conceals the extensive infrastructures required to generate such outputs. Visualisation of planetary reality through digital data depends on vast infrastructures that extract energy and minerals from the Earth.
Many environmental and energy strategies rely heavily on metric-based quantification and data-driven optimisation (Mayapple Energy Transition Collective 2026). Since the early 2000s, geoscientific research has undergone significant evolutions. Techniques such as seismic imaging, once used primarily to locate fossil fuels, are now widely applied to identify geothermal resources, hydrogen storage sites, and minerals necessary for batteries and electronic devices (Letcher 2012). These planetary-scale modelling practices for climate change, renewable energy systems, and resource assessment increasingly rely on artificial intelligence, and further expand the computational infrastructures that support them.
As historian Jean-Baptiste Fressoz argues, energy transitions operate less as transformations than as processes of accumulation. New technologies are layered onto existing infrastructures, extending and intensifying extractive regimes rather than replacing them (Fressoz 2024). Contemporary technological infrastructures largely privilege metrics, optimisation, and predictive modelling. The accumulation of data in unprecedented quantities requires further infrastructural expansion, in storage capacity and in the human labour of the data-labelling workforces needed to train these systems. From this perspective, the rise of AI infrastructure, often out of sight from the user, does not necessarily produce a more “intelligent” relationship with the Earth. Instead, it intensifies planetary extraction. Furthermore, these approaches, represented primarily through datasets and simulations, struggle to account for the relational and embodied dimensions of specific geographic contexts.
Throughout this paper, we use geological as an epistemological method rather than a purely material category: a way of reading the infrastructure of AI through the temporal logic of sediment – layered, partial, and built up over time through biological and anthropogenic processes. Thinking geologically shifts attention away from AI as abstract computation towards the infrastructures, histories, and material conditions that sustain it, and towards what we frame as a grounded, situated intelligence.
This framing draws on Donna Haraway's notion of situated knowledge, in which all knowledge is partial, and the pursuit of universal, view-from-nowhere objectivity reduces what knowing can mean (Haraway 1988). Following Haraway, we take the body as the apparatus through which situated knowledge is produced, meaning the planetary can, and perhaps must, be approached at a small, bodily scale rather than only from above. Situated geological intelligence, in this sense, is geographically specific rather than universal: produced through bodies sensing, improvising, and playing with the ground, rather than through the abstract, view-from-nowhere gaze of satellite and remote-sensing data. It privileges the temporal, situated understanding built by communities over standardised, universal metrics.
Situated geological intelligence is therefore partial and not universal knowledge, and this partiality is precisely what equips it to attend to what remains hidden. The sectional approach developed later in this paper cuts through that hiddenness directly, making visible what computation can and cannot register beneath the ground. This is not a call to retreat from computation into some romanticised, pre-technological relationship with the ground. It is a provocation for a more complementary, inclusive approach, one that lets geological forms of intelligence sit alongside metric and computational systems, attending to capacities the latter cannot register: capacities that, we suggest, begin in the voids within and between stones.
This paper develops its argument through an interdisciplinary creative research methodology that combines case studies and theoretical analysis, visual methods such as collage and mapping, and embodied practice such as choreography and movement. These methods aim to reveal relationships between bodies, infrastructures, and geological environments that computational models cannot. The case studies are organised around two geographies that examine AI’s foundational infrastructure: the grid and the land. Beirut’s improvised electrical grids show how communities produce infrastructural knowledge under conditions of unstable energy supply: intelligence as negotiation and maintenance. Lubumbashi’s mining landscapes show how bodies produce geological knowledge through direct engagement with extractive territory: intelligence as adaptation and memory. This proposes a complementary approach to technological systems, arguing for a shift in emphasis:
From metric-driven intelligence to situated geological intelligence.
From infrastructure to the body, our final section, on play as conceptual provocation, questions how power inhabits the body’s relationship to land and labour. We understand play here as an embodied way of engaging with the world, its environments and its people, structured through shared rules and the imaginative reuse of one’s immediate surroundings. Where computation derives rules from data, play derives them from matter. Play, we argue, is a method for connecting the body to the planetary, unsettling productivity and its measurable ends rather than simply escaping them.
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Figure 1: Silver mine, Potosí, Bolivia, c. 1750. A cross-section of body and geology three centuries before the term “infrastructure” existed (Wellcome Collection/unknown author 1750).
Infrastructure: From Foundation to Extraction
All extraction depends on infrastructure; local extraction scales up through it. Roads, pipelines, electrical grids, data centres, and satellite networks form the logistical infrastructure that sustains contemporary technological systems. Artificial intelligence, we argue, is therefore both digital interface and material infrastructure.
The prefix infra refers to what lies beneath, the foundations that allow structures above to function (Merriam-Webster 2026). The term emerged in nineteenth-century France to describe the foundational networks supporting industrial systems such as railways, canals, and electrical grids.
Infrastructure organises collective life. Architectural theorist AnnaLisa Meyboom describes infrastructure as a systemic foundation enabling connectivity and collective activity (Meyboom 2009). In principle, such systems do not necessarily imply extractive relationships.
Industrialisation, however, closely tied infrastructure to efficiency and optimisation. Since the first highways were built in the United States in 1913, the morphologies of roads and highways have been engineered using traffic modelling and statistical analysis to reduce congestion and maximise circulation efficiency (Desportes 1991; Lay 2012). Infrastructure became inseparable from complex metric systems designed to regulate flows.
Digital infrastructures further push the flow of energy and material. Data circulation depends on carefully calibrated environments, including mineral supply chains for semiconductor fabrication, cooling systems for data centres, high-voltage electrical grids, and orbital communication satellites. Behind every promise of efficiency lies a deeper extraction that the user rarely perceives.
Yet infrastructures are never purely technical, and extraction is never purely material. As anthropologist Gretchen Bakke observes, the grid also organises social life, labour relations, and political power; grids should be understood as technological, economic, legal, meteorological, and cultural systems. In this sense, the grid can be extractive, shaping collective trauma, or constructive, shaping collective hope. Nikola Tesla argued that electrical systems are structures that transform collective imagination (Bakke 2016, pp. 271, 289). Our research asks whether AI actually makes a better grid, a better infrastructure, or simply a more efficient one. That question turns attention to what is already there:
What forms of intelligence already exist within existing infrastructure?
What do practices of maintenance, improvisation, and everyday human intervention teach us about infrastructural intelligence?
Improvised Infrastructures: Counter-Grids over Smart Grids
Contemporary energy discourse often celebrates smart grids. Enhanced with artificial intelligence, smart grids promise greater energy efficiency, resilience, and reduced environmental impact (IEA n.d.).
Grids also operate as complex socio-technical machines, managed by utilities, governments, and market actors that translate electricity flows into data, forecasts, and monetary value. While contemporary discourse frames smart grids as technologically sophisticated systems capable of optimising energy distribution, Bakke reminds us that even centralised electrical infrastructures are never fully predictable or controllable (Bakke 2016, pp. 24, 139, 141).
In many parts of the world, especially the Global South, infrastructures operate through improvisation as part of everyday life. In regions affected by chronic infrastructural neglect, electrical grids frequently suffer from outages, lack of maintenance, overloaded capacity, and underinvestment. Residents often rely on informal operators who provide electricity through private generators or improvised networks. Access to power becomes expensive, inconsistent, and sometimes dangerous.
Lebanon offers a striking example of how infrastructure is transformed by histories of conflict, geopolitical fragmentation and chronic underinvestment. Decades of civil war, repeated Israeli attacks on infrastructure, and the ongoing failure of state electricity provision have led residents to develop informal electrical systems, including shared generators, improvised wiring, and neighbourhood power networks. What may initially appear chaotic, instead reveals complex systems of local coordination, maintenance, and negotiation. These forms of improvisation reveal alternative forms of infrastructural intelligence that are situated, collective, and adaptive, emerging from the everyday practices of communities who must constantly negotiate unstable systems.
The tangled electrical cable grid visible in the Burj el-Barajneh refugee camp in Beirut illustrates this infrastructural condition. Residents rely on improvised networks of low-hanging wires that connect buildings through dense webs of electrical lines. This is not an argument for romanticising informality: these same cables pose constant risks of electrocution and fire, and have caused numerous deaths and injuries over the years. These networks are material expressions of political histories, displacement, and collective adaptation.
These conditions stand in stark contrast to the infrastructures that support contemporary artificial intelligence. AI development relies on highly controlled, resource-intensive environments, including hyperscale data centres, semiconductor fabrication facilities, and specialised computing clusters. These infrastructures require stable electricity supplies, continuous flows of water for cooling, and vast quantities of critical minerals.
This contrast reveals a broader infrastructural asymmetry. Digital infrastructures that support artificial intelligence concentrate resources, energy, and computational capacity within a relatively small number of corporate and geographic centres. Large technology companies increasingly control access to computational resources, shaping the direction of AI development according to market priorities. Meanwhile, populations in regions affected by extraction, infrastructural neglect, or political instability experience digital infrastructure through conditions produced by this technological, political, and economic asymmetry. This asymmetry is also geological and historical. As geologist Kathryn Yusoff argues in A Billion Black Anthropocenes or None, dominant Anthropocene narratives mask the unequal geographies of extraction that shape the lived experiences of marginalised communities (Yusoff 2018).
In our visual research, these electrical entanglements are traced and reconstructed through collage and stitched drawings. The chaotic cable networks are juxtaposed with images of semiconductor circuits and data centre wiring. These collages operate as analytical tools. By tracing similarities between refugee electrical networks and semiconductor circuitry, they reveal unexpected continuities between infrastructures usually understood as entirely separate.
Figures 2a and 2b: Collage tracing the chaotic tangle of electrical cables found in the Burj el-Barajneh refugee camp in Beirut (Tegho 2025).
Over fifteen years ago, landscape architecture scholar Pierre Bélanger proposed a related perspective with his concept of landscape infrastructure. Bélanger describes these processes as performative and reciprocal, evolving through continuous interaction rather than predetermined design outcomes (Bélanger 2009).
From this perspective, these evolving infrastructures in Lebanon can be understood as forms of counter-infrastructure that evolve through everyday practices of maintenance, negotiation, and adaptation with the ground and the society they serve.
Through this kind of counter-infrastructural approach, communities cultivate trust, shared knowledge, and collective expertise. These grids may not look optimised or profitable at first sight, but they drive long-term, durable transitions that build a larger common benefit. These practices reveal forms of intelligence rarely recognised in conventional technological discourse, and expose the limits of the metric-based optimisation that drives AI infrastructure. Rather than focusing exclusively on optimisation, control, and efficiency, infrastructural design might also learn from practices that prioritise resilience, cooperation, and situated knowledge built from the ground.
Visualising the Planetary Infrastructure: Sectional Approaches
Parikka (2015) argues that visualisation mediates our relationship with the Earth. The infrastructures of AI connect geological formations, energy systems, data networks, and orbital communication technologies. To situate these relationships, this research adopts a sectional approach, examining infrastructure along a vertical axis that extends from subsurface geological layers to atmospheric and orbital systems. The infrastructures discussed so far are sometimes invisible, even from above, beyond the reach of satellite imagery.
Geological sciences have long relied on sectional representations to visualise underground environments in the search for mineral deposits. Techniques such as seismic imaging and subsurface modelling allow scientists to access territories that cannot be physically reached.
These visualisations do more than represent the subsurface. They transform geological territories into measurable, extractable datasets that can be integrated into economic and technological systems. Visualisation thus participates directly in processes of extraction. We therefore use the section as an investigative form of representation, one that asks how, for whom, and for what purposes such infrastructures are visualised.
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Figure 3: Diagram on the sectional approach (Source: Lee 2026).
Extraction today spans both the material and the immaterial: contemporary digital infrastructure extracts data as readily as it extracts minerals. Geoscientists collaborate with post-petroleum energy companies seeking alternatives to fossil fuels, continuing to collect large datasets on subsurface conditions for locating geothermal energy, hydrogen, and minerals. These datasets exceed human capacity for interpretation, making artificial intelligence essential for processing them. As a result, additional computational infrastructures are required to store, analyse, and manage the data extracted from the ground.
Artificial intelligence thus becomes one of the central instruments through which contemporary science understands the planet. At the same time, the infrastructures that enable these forms of analysis depend on the very mineral extraction and energy consumption they often monitor or seek to mitigate.
As planetary infrastructures expand, their scale increasingly exceeds human perception. Global supply chains, satellite systems, and geological datasets operate across spatial, material, and temporal scales that are difficult to grasp through everyday experience. Contemporary AI infrastructures therefore appear abstract and distant from daily life. This raises an important methodological challenge:
How might planetary infrastructures be sensed beyond purely computational frameworks and beyond perceivable scales?
Returning to the sectional perspective, a cut through the planet does not simply describe atmospheric or geological layers. It also opens speculative interpretations of what lies beneath the surface. The underground is not composed solely of stone, minerals, or oil; it has historically been imagined as a space inhabited by ghosts and other unknown forces. This interdisciplinary research investigates whether bodily encounters with geological matter, framed through a vertical perspective, can enable engagement with the messy, relational ground where aliens, monsters, and ghosts have historically been imagined to reside. Read this way, the sectional cut is not only a geological method but an apparatus for holding memory, uncertainty, and multiple temporalities.
Lubumbashi: Reading Extraction Through Body or Data?
Figures 4a and 4b: Congo Katanga and Goma (Flickr/Bas Van Abel 2022).
One way to address the methodological question raised in the previous section is to examine what remains outside computational data: the extractive landscape as it is lived and carried in the body.
The Democratic Republic of the Congo contains some of the most significant reserves of critical minerals in the world. The country produces approximately 74 percent of global cobalt and more than half of global tantalum production (USGS 2026). These minerals are essential for batteries, electronic devices, and renewable energy infrastructures. Lubumbashi, located in the Katanga mining region, is at the centre of the global race for so-called green minerals (Finn et al. 2025).
The city has been shaped by extraction for more than a century. Colonial mining infrastructure structured its urban morphology and spatial organisation (Voelcker 2023). The legacy of colonial spatial segregation remains visible today, with privileged communities residing in the city centre while mining labour camps were located closer to rural extraction sites outside the city (Finn et al. 2025). Mining infrastructures continue to shape the city’s development, influencing environmental conditions, labour organisation, and everyday spatial practices. The impact of extraction on landscapes is often experienced through the bodies of those who live and work within them.
Artist Sammy Baloji’s work highlights these embodied dimensions of mining landscapes. In Essay on Urban Planning (2013), Baloji documents the colonial regimes imposed on mining workers through archival materials. One account describes how workers were required to kill fifty flies per day in order to receive food rations (National Gallery of Canada 2019). Such histories reveal how extraction shaped not only landscapes but also bodily discipline and labour routines.
Recent research conducted with local displaced mining communities in Lubumbashi further demonstrates the value of community-based perception mapping. Inspired by the urban theorist Kevin Lynch, these studies examine extractive territories through mental mapping of lived experiences (N’tambwe Nghonda et al. 2026). The data showed that this collective, perception-based approach produces a representation of the ground remarkably close to what digital methods can measure, evidence that situated perception can carry real methodological weight.
Choreographies of Extraction: Bodies as Geological Interfaces
In mining environments around Lubumbashi, the relationship between body and ground becomes particularly visible. An underground architecture emerges through bodily labour as workers descend into narrow shafts, dig unstable tunnels, and carry heavy mineral loads across uneven terrain. Each gesture is calibrated in response to the density, fractures, and shifting resistance of the earth (Amisi Mwana 2018).
In this context, movement itself functions as a form of intelligence. Gestures operate as analogue algorithms, while bodies act as adaptive infrastructures that constantly adjust to depth, instability, and material resistance.
Baloji’s photographic series Mémoire (2004–2006) further illustrates these relationships. Colonial archival photographs of mine workers are layered onto contemporary images of industrial ruins. The images show workers carrying loads, standing in formation, or labouring under supervision. Through this visual montage, Baloji reclaims the material and embodied histories of mining infrastructures while challenging conventional understandings of the past and present of his home country (Baloji n.d.).
Baloji later extended this work from the still image into live performance. In collaboration with choreographer Faustin Linyekula, the performance Mémoire (2007) took place inside the remains of colonial copper mines in Katanga. The performance reactivates that history in a moving body: gestures staged inside the abandoned infrastructure itself confront the often-unspoken histories of displacement, labour exploitation, and environmental transformation associated with mining in the Congo (LACMA 2025). Here the body and movement become a way of holding historical weight.
These works suggest another understanding of intelligence. Bodies become geological interfaces through which knowledge of the ground emerges. This understanding develops through continuous negotiation and interaction with geological matter rather than through computational optimisation.
Historically, similar relationships existed in early drilling technologies. Ancient drilling practices in Zhejiang province in China relied on coordinated bodily rhythms using bamboo tools and water pressure (Kuhn 2004). Collective bodily movements functioned as a learning apparatus for understanding the geological properties of the land.
These practices illustrate a form of geological knowledge grounded in embodied engagement. They raise important questions for the governance of extractive territories. Should decision-making rely solely on computational intelligence, or might the embodied knowledge of local communities also inform how extraction is understood and governed? While industrial extraction depends on technologies and data analysis to produce regulatory frameworks, artisanal mining communities cultivate forms of situated intelligence through sustained interaction with geological materials. Rather than opposing metric and technocentric approaches, these embodied practices reveal complementary forms of knowledge, and enrich decision-making in extractive landscapes.
Figure 5a: Speculative visual research on Lubumbashi’s landscape: the ground as measurable data (Lee 2026, in collaboration with Aleksandar Borissov).
Figure 5b: Speculative visual research on Lubumbashi’s landscape: the ground as negotiated resistance (Lee 2026, in collaboration with Aleksandar Borissov).
Negotiating Infrastructure: Bodily Intelligence in Extractive Territories
Close bodily engagement with the ground in unregulated artisanal and small-scale mining exposes workers to significant risks, including toxic materials, unstable tunnels, and dangerous working conditions. These risks are often invoked by states and corporations to justify formalising, or replacing, artisanal and small-scale mining (ASM) with the infrastructures of large-scale industrial mining (LSM).
Recent geopolitical developments have further complicated this landscape. With rising global demand for green minerals, the 2025 mineral agreement between the United States and the Democratic Republic of the Congo encourages the formalisation and industrial integration of artisanal mining, to stabilise mineral supply chains (US Department of State 2025).
These top-down formalisation policies further escalate tensions between local communities and the authorities. Corporate actors push the state to expand operations and accelerate profit from mining; when these replacements are executed top-down and at speed, they sometimes produce violent evictions that take no account of local communities’ views. Some local communities prefer their own practices, their own community rules, and the informality that emerges from social practice over generations (Geenen, 2012). The data used to guide formalisation policy come overwhelmingly from mining corporations themselves, and are oriented towards profit. Health impacts on miners, and the reasons communities resist formalisation, remain comparatively undocumented (Balyaminu et al., 2026).
The question is therefore not only how artisanal mining should be formalised, but what forms of knowledge should inform that process. From this perspective, infrastructures might be designed around the knowledge communities already hold, rather than imposed upon them.
From this perspective, the body carries history in ways datasets do not. A miner’s gait, shaped by years of negotiating the geology of narrow shafts, fractures, and shifting rock, holds the physical memory of colonial-era labour routines even where no written record does. Baloji’s works, discussed above, illustrate exactly this: a body trained under one labour regime keeps carrying that training forward, so that trauma and violence are not only archived but rehearsed, in gesture and posture.
This is not an argument for staying informal. In Lubumbashi, as elsewhere, a more inclusive transition can also improve the working health and safety of ASM communities. But as Siegel and Veiga argue, formalisation is a process, not a product delivered by licence (2009). Infrastructures and communities are not opposing systems; they negotiate coexistence through dialogue, care, and shared responsibility.
In this sense, counter-infrastructures become responsive frameworks that give local bodies of knowledge a voice, rather than metric-driven infrastructures. We argue that bodily intelligence can function as a complementary research tool, capable of engaging local communities in transforming extractive territories.
Play as Counter-Infrastructure
In extractive landscapes such as Lubumbashi, open-pit mines remain highly visible within the surrounding areas. Since the late twentieth century, the environmental consequences of large-scale mining have shaped public perceptions of extraction: land degradation, atmospheric pollution, and long-term ecological transformation are now inseparable from how open pits are seen (European Environmental Bureau 2001). Within this context, the open-pit mine has become a powerful visual symbol of socio-environmental exploitation and trauma.
As discussed previously, geological intelligence emerges through bodily engagement with grid and ground. This closing section turns to play as another form of that same intelligence, one that we offer here as a conceptual provocation. We argue that play is a process-based flow without a predefined objective, one that allows a responsive, situated engagement with material conditions that data-driven approaches structurally overlook.
Artist Francis Alÿs explored this possibility in When Faith Moves Mountains (2002), a work in which five hundred volunteers used shovels to shift a sand dune outside Lima by approximately ten centimetres. This collective action had no defined objective; it produced instead a continuous flow of wonder, a playful synchronisation between bodily movement and the ground, the same terrain capable of demanding exhausting physical work shown to also invite improvisation and invention outside the logic of productivity. This collective act of five hundred bodies moving together towards no measurable end was coordinated without top-down hierarchy, synchronised and negotiated among participants. In this sense, the collective play demonstrated in the work is a form of counter-infrastructure, an evolving, adaptive coordination at scale.
A similar dynamic appears in La Roue (2002). In one scene, a child rolls a tyre uphill before climbing inside and descending the artificial hill formed from mining waste. The hill itself is a residue of extraction and exploitation. Yet the child transforms this landscape through the act of play. Here, the ground becomes a terrain to be engaged through improvisation and curiosity, rather than a resource to be dominated (Claes 2023).
These scenes reveal how play can emerge alongside labour in extractive landscapes, functioning as a situated method of thinking with geological material. In La Roue, the trajectory of the tyre is determined by the local heterogeneityof the ground, so play becomes responsive to the specificity of the terrain. The ground’s geological history, sedimented over time, offers rich and particular material constraints, conditions that shape movement and generate new possibilities for engaging the body with the ground. Playing with the ground can thus be a manifesto of situated intelligence: while extractive systems are organised around optimisation and efficiency, play embraces unpredictability, failure, and collective negotiation, resisting predefined outcomes in favour of open experimentation.
Building on this logic, we propose movement scores as a form of play. Stones are imagined as active collaborators, curating relationships between bodies and geological materials (Figure 6). Rather than following a predetermined sequence, the stones’ properties, such as weight and texture, could define rules of movement. This process of play invites constant negotiations between matter and body.
We offer this not as a result but as a provocation: a way of asking what forms of knowledge such an exercise might surface, and what a research method built entirely around letting matter set the terms of movement could look like in practice. In extractive zones, we suggest, play could also open a form of care where care is structurally denied; children playing near mines already invent rules from the same debris and terrain that shapes labour. Extractive landscapes, in this sense, have the potential to become spaces of collective improvisation. As with Alÿs’s dune, collective play can itself become counter-infrastructure, and our proposed movement scores are one way of taking that improvisation seriously as a form of geological intelligence.
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Figure 6: Play scores: weight, texture, and resistance shaping spatial movement with stone (Lee and Tegho 2026)
Designing Infrastructure with Situated Geological Intelligence
The practices explored throughout this research, from improvised infrastructures to bodily engagement and play, offer cumulative evidence for how geological intelligence operates: as negotiation under conditions of scarcity, as memory under conditions of extraction, as improvisation once labour’s constraints loosen into play. This intelligence now turns to what it implies for infrastructural design and governance.
This is not an argument for the primacy of embodied knowledge over computational systems. It is a call for more inclusive infrastructure design in the age of the Anthropocene, capable of holding data-driven governance and local knowledge together. This kind of partial-evidence approach is also gaining credibility within scientific research itself. As the Lubumbashi mapping research discussed earlier suggests (N’tambwe Nghonda et al. 2026), such convergence is particularly valuable in contexts where environmental or infrastructural transitions require the cooperation of local communities. Community-driven initiatives such as the Molokai Clean Energy Hui in Hawaiʻi, for instance, involve residents directly in energy system design and tend to produce more durable, locally accepted outcomes, though they also unfold more slowly than centralised implementation (Mayapple Energy Transition Collective 2026). These examples cannot be copy-pasted elsewhere without reckoning with each site’s specificity, nor read as a template for accelerating current infrastructural development. They are, instead, a case for accepting that slowness is more valuable than efficiency during transition processes, allowing greater inclusion of situated geological intelligence.
Infrastructure, from this perspective, functions as a socio-ecological system as much as a technical one. As Sammy Baloji describes, communities operate through relationships of reciprocity and shared responsibility, networks of individuals who voluntarily engage in exchanges grounded in respect and equity, renegotiated through verbal communication, bodily interaction, and the material traces embedded in objects and places (Voelcker 2023). Recognising this allows infrastructure to incorporate knowledge already present within the communities it runs through, as with the ASM-LSM tension in Lubumbashi described earlier, where the community rules that already define informal artisanal mining could form the basis of a more inclusive approach to formalisation.
The grid and the land, the two cases this paper has traced, are not opposing sites of intelligence but complementary ones. Planetary infrastructures will only be well governed to the extent that they can hold both forms of intelligence, computational and geological, together.
Conclusion
Learning from the Ground
The infrastructure of artificial intelligence is thus deeply material at a planetary scale. Computational modelling remains valuable for managing complex systems and large-scale data analysis, but it cannot fully account for the embodied, relational dimensions of extractive landscapes that unfold across multiple scales at once. This infrastructure needs a more relational form of intelligence, which this paper introduces as situated geological intelligence.
Situated geological intelligence emerges through embodied interaction with materials, communities, and landscapes. It repositions digital infrastructure within a broader ecology of knowledge, one where computation coexists with counter-infrastructure rather than replacing it.
Addressing contemporary planetary challenges may require infrastructures that integrate multiple forms of knowledge: technological, territorial, embodied, and collective. Artificial intelligence increasingly shapes how the planet is measured, modelled, and governed. Yet the ground itself continues to instruct human activity through resistance, weight, texture, and movement.
The challenge is therefore not simply to build more powerful computational infrastructures, but to design planetary infrastructures where computation and situated knowledge can operate together. The future of AI depends as much on learning from the ground as it does on learning from data.
Figure 7a: Speculative visual research on Lubumbashi’s metric-driven extractive infrastructure (Lee 2026, in collaboration with Aleksandar Borissov).
Figure 7b: Speculative visual research on Lubumbashi’s embodied and negotiated infrastructure (Lee 2026, in collaboration with Aleksandar Borissov).
Credits
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Artificial Intelligence (AI) Usage and Acknowledgement
ChatGPT (OpenAI) was used for language editing and proofreading. The authors reviewed and revised all suggested changes and remain responsible for the final text.