The guinea fowl opens across all times, traveling through infinite spaces, emptying and filling itself with many nows of tomorrow and yesterday. It is a vessel and a chart in the unfathomable darkness of the present. On its wings are the stars of galaxies, the lights of UFOs, pores of a shared body stripped of death. Its wings hold what was lost and shattered, resisting the line or the closure in a curve. In this curve, time doesn’t arrive solely as doom; it can take the form of a spiraled prayer, a music-mosaic, a dispersed fragment reaching for the wind, the waves, the prompt ears that still don’t exist to hear—trance, trance, trance.

It can be difficult to see what is lost when loss is experienced. Freud described melancholia as a condition in which what is lost, beyond any particular object, is ultimately the subject’s relation to the world, which he then describes as a topographical withdrawal back into the self and narcissism, a state he called melancholia. In the process, the relation to the external world is severely compromised. But, Anders asked, could it be possible to start from the opposite premise—that the relationship to the world is never guaranteed a priori?

As “collective projects” and “collective agency” take on new and complex forms, how can processes of collective self-identification be grasped—not just historically, but also for the social media–driven present? How can such processes be intervened in and shaped? What is the role of disidentification between various “peoples” who cast each other in the role of other, alien, enemy? Are divergences always motivated through negation, by opposition?

To counter the cultural and economic neoliberal shift towards precaritization, Amateur Riot has worked for almost two decades to reestablish local agency and to foster forms of interdependence for collective social reproduction, creating what I call, following the writings of political theorist James C. Scott, a “para-zomia”—a self-organized community embedded within an urban area. Though Amateur Riot includes artists and cultural workers, the collective does not consider itself a producer of artworks, signaling a move on its part past what is usually considered art.