Immerse

'We Are All Woven' highlights the work of Organizmo, a research-led organisation in Tenjo, Cundinamarca, which for over two decades has studied and supported the philosophical and material construction traditions of the region’s Indigenous peoples. Created by revisions media, this film witnesses timeless traditions of co-creating habitat that reveal that to “build” is an inherently collective process.

Born in Trinidad and Tobago and raised in Saint Vincent and the Grenadines, artist Nadia Huggins engages photography to create unconventional images to draw attention to the changing nature of the landscapes she’s been immersed in all her life. Contrary to the popular assumption that the landscape photograph is necessarily terrestrial, Huggins’s singularly poetic approach to documentary reframes underwater spaces to shift our perspective on our environment, and thereby our relationship to the planet’s ecosystems. This visual essay, commissioned for our pages, considers the multitude of Caribbean landscapes and the lifeforms that comprise them, just beyond the surface of the sea.

The Embodied Restoration Lab, an initiative conceived by architect and researcher Afaina de Jong, asks architects and designers to imagine a new kind of AI model: one that recognizes resource scarcity among various ecosystems, that prioritizes oral or diasporic knowledge, that considers accessibility needs, that moves away from paradigms of colonialism toward a more equitable future—and advises its users accordingly. For "revisions", de Jong introduces the questions that prompted its development, as well as those that shape its hopes for the future.

Justen LeRoy’s immersive, audio-visual creation is an ode both literal and metaphoric; it pays poetic homage to the Earth and connects the Black experience to the plight of our planet itself, while using the power of sound, particularly the wordless melisma, positioned in relation to the moving image. "revisions" invited journalist and screenwriter Judnick Mayard to reflect on the architectures—or lack thereof—that LeRoy’s landscapes comprise yet also evade.