“Caught in the affectIve entanglements of inquiry, it becomes unclear who is animating what and what is animating whom.” Natasha Myers 
Artifacts, evidences, entangle not only inquiry but the very ground. Ground in the sense of the foundation of what we see and believe to be true. Each particular extends away to the edge, to a between, to a curve out of sight. Evidence always implicates its source, its placement, its sedimentation.
As Tim Ingold reminds us, “The environment comprises not the surroundings of the organism but a zone of entanglement. Life in the open, far from being contained within bounded places, threads its way along paths through the weather world.”
The photo-images assembled in the Evidence:Entanglement, an incidental inquiry, were recorded during a few days in November 2019 adrift in borderlands of Oregon-California-Nevada, the conjured Three-Corners. These lines from Wallace Stevens’s A Postcard from the Volcano come to mind:
And least will guess that with our bones
We left much more, left what still is
The look of things, left what we felt
At what we saw.
 Natasha Myers, from Becoming Sensor in Sentient Worlds, in Between Matter and Method Encounters In Anthropology and Art (2018), Editors: Gretchen Bakke and Marina Peterson.
 Tim Ingold, "Bindings against boundaries: entanglements of life in an open world" (2008). In Environment and Planning (journal).
 Wallace Stevens, "A Postcard from the Volcano" (1923) in Collected Poems (1954).
Photo above: Petroglyph, Canyon Wall
Photo below: Tower anchor, Pacific Intertie - Powerline conveying electrical current from hydropower (The Dalles Dam on The Columbia River) to 2 million homes in Los Angeles.