@article{
 title = {Ungrid-able Ecologies: Decolonizing the Ecological Sensorium in a 10,000 Year-Old NaturalCultural Happening},
 type = {article},
 year = {2018},
 id = {bff8cafd-ba1d-3b37-88e8-619502ca0a97},
 created = {2019-08-08T11:47:32.399Z},
 file_attached = {false},
 profile_id = {d9e1f493-0fff-306e-a308-d3b3e52e84d2},
 group_id = {6b3cbe6f-5954-3478-8b6f-f247bb28d285},
 last_modified = {2019-11-15T23:40:09.662Z},
 read = {false},
 starred = {false},
 authored = {false},
 confirmed = {true},
 hidden = {false},
 folder_uuids = {9f3d8ba3-3f65-4b96-bca6-4e38b8819818},
 private_publication = {false},
 abstract = {In the photo essay that follows, I share some field notes two years into a long-term research-creation collaboration with award-winning dancer and filmmaker Ayelen Liberona. Becoming Sensor mixes art, ecology, and anthropology in an attempt to do ecology otherwise. Part of a long-term ethnographic research project on an urban park in Toronto, Becoming Sensor speculates on protocols for an ungrid-able ecology of a 10,000 year-old naturalcultural happening. In this project, Ayelen and I engage the expansive mediations of art and the artful attentions of ethnography to remake the naturalist’s notebook. This more-than-natural history of an oak savannah in Toronto’s High Park offers one approach to cultivating a robust mode of knowing grounded in queer, feminist, decolonial politics.},
 bibtype = {article},
 author = {Myers, Natasha},
 doi = {10.28968/cftt.v3i2.28848},
 journal = {Catalyst: Feminism, Theory, Technoscience}
}