ANACD: Autonomising not atomising connected disconnectedness.

People know that they can be, but perhaps feel less, connected to others.

VERB: (an anacronym, becoming synecdoche of a verb, ie. “I am anacding”)

ADJECTIVE: “this (experience, issue, period) is anacd!”

ANACD; (anaecht, annact)
Anacd is a term of reference for a movement  (in) [1] time for the collective sensation brought upon by the largest-longest common pain known by a global scale of people simultaneously [3]. Bodies are not being-together in the proximal-heat sense experience so their perceptive focus is pulled between the lack of that and awareness of multiple others together splintered. The social affect presents as a realisation of autonomy (of self-sense experience or short-distant othering) without the disconnection of atomisation. In this sense-flow bodies are connected-disconnected. Autonomizing not atomizing connected disconnectedness.


In experiential etymology* was a question regarding ‘how’ a word which is defining  newly prevailing ideology (nP/I)[2] or event, becomes collectively significant. P/I’s evolve with different temporalities, making their appearance felt in various experiences of time (some stay for a short time and effect a small group, some for a long time and effect a large group, etc etc).

This question was originally asked by DarioVacirca to LucieMcintosh after a discussion around the prevailing Ideology of the term ‘superfood’, and investigating the take up and prevalence of references to such relatively minor, yet deeply effective experience leading to nP/I’s such as ‘superfood’. Anacd is such a term as to define the affect of this nP/I, a major experience in terms of scale of awareness and effect on agency. Autonomizing not atomizing connected disconnectedness.


Experiencing etymological creation. Living through the moment of realising a category (of new language) is being established. Naming it, defining it, and continuing.

 is a conjunctive adverb, situated under a hyphen, underscoring the new-flow conjunction being formed / coined. It is a replacement of the word “in”, as “in” alone has already disappeared into the newly created term such as “movement-time”. It is clear that we mean movement in time but also more now we have created a new form in ‘movement-time’  It is unnecessary to add the ‘in’ but perhaps important to reveal that it is always under (behind) the conjunctive.

P/I – prevailing ideology.
nP/I – newly prevailing ideology. One which is in current.

Relatively speaking of course there have always been common pains experienced by numbers of people, but the argument here is about the unique all-in physically global epochal affect of the period referring to covid; first named in feb 2020 and continuing to inflect upon consciousness as a basic common reference for some time.


Creativity precedes lack

All life is creative.

All humans are alive
All humans are creative

All art is creativity, with dedicated time

Art requires freed time
Freed time is freedom to choose – what to do in life.

Art requires good ideas
Good ideas require freed time, deep listening and play.

Criticality comes with practise

All humans are artists.
We know what that means.
It means practising art is like giving, is like caring, is like letting go, is like gardening, is like loving, is like dreaming

This is what we do to become our human being. Once we know our human we know our place with the more than human. And we continue.

Time is flow, and experience, it can’t be valued beyond the value of life itself. It can’t be measured except for its relation to the flow of experience.

Don’t fool yourself. You are not exceptional. We all are.

Image: Relacion, 1986, Tomas Sanchez

about other australians

australians are judgmental – of each other, and the rest.
it is a hang over of class and a lived CONVICTion.
it can be seen and experienced mostly within the aspirational middle class, they care so much about how they are perceived they will strive to pull others like or unlike them down, and then take another step up. however teetery, however temporary.

so says the australian

Hybrid pit oven, hungy, tonir.

Made this amazing cooker in my backyard with best homies, Lucie and Alix. It can cook in layers- coal cooked banana leaf wrapped fish and spit meat skewers, grilled veggie skewers and other options. Top third will soon be covered with clay to allow for central/south Asian bread cooked directly on its surface. Works hungy style as well, with wrapped food cooked via hot stones in covered pit.

Uncommon Nature

Uncommon Nature was a suite of screen based works co-curated with Lucie McIntosh for Blindside Gallery’s Satellite Program. The catalogue essay has been turned into a little book, published in December 2019. Printed copies are available upon request.

Marjolijn+Dijkman, Prospect of Interception A0 (excerpt, single rotation), 2016, single channel video with sound, 12 minutes 9 seconds (still from moving image)

In his book, Wild Mind, eco-philosopher, Bill Plotkin argues that we are “being summoned by the world itself to make many urgent changes to the human project, but most central is a fundamental re-visioning and reshaping of ourselves…”

How do we know what we are, how do we know the extent of our natures? As we move further into the catastrophe of human-propelled change, what methods can we bring into effective action to listen, and hear what the other-than-human can tell us about our human natures? And when we hear this, how will we prepare a new way of collectively knowing ourselves in relation?

In the realm of the mind, which in many ways is the space of the ‘art’, and in turn ‘our’ vital expression, we hear the weight of water, touch our ancestors, stir the mechanics of industry toward canny poetry, and embrace the truth of multiple, discordant voices hurtling experience around and toward the earth. It is here, through the whisper of the screen on the edge of our common spaces that we continue to unravel that which currently lies uncommon to our natures.

As our art unveils and our eyes lay open, our hearts hear a new song for an old ceremony. And in this we prepare again for a present that re-communizes that which has become uncommon through a colonized competitive class, whom are bewitched by an object and possession based antagonism. The artists in this project all touch upon the need for a treaty to re-common senses of wonder. They apprehend the tools of flow, poise, cosmicality, retrocausation and breath. In experiencing their work we develop a deeper empathy for worlds beyond ourselves, within ourselves, to each-other, and to each-other’s others.

—     Dario Vacirca + Lucie McIntosh    —