Common-being and its truth, the Hydra and its energy becomings, as this appears and yet doesn’t, so for this reason also, social contradictions and our inhabiting, dwelling and embodiment of them to the point of political intoxication, these are the obsessions, compulsions, rhythms and habits active here.

And so theory or methodology also, since social contradictions, unfolding in time, singular and systemic, affective and prosthetic, and being hydra headed are not reducible to logical contradictions and therefore pose form problems of their representation. “The master’s tools will never dismantle the master’s house” and so the project is also to decolonize the Herculean sciences of society through a memory of ancient skepticism as modern as a vitamin pill, changing diapers and the morning commute. Not only The Hunting of the Snark then but also Waiting for Godot and foreign languages with Chinese characteristics in order to weave stronger the sails and shrouds of social reproduction feminism. Not only a matter of whether life can be art, and how it can when life can barely be life, but rather whether the everyday can yield a method of intermedia re-search, whether one can be in the present by not being there: waiting, expecting, enduring, remembering, forgeting through a media ecology of photographs, line drawings, poetry, sentences, words, paragraphs, figures, graphs, charts, tables, citations, and so sampling, scanning, tagging, recording, documenting, collecting, journaling, blogging, assembling as auto-ethnography or counter-environmental history or whatever else it takes to get there.