Living means leaving traces. Walter Benjamin 
This is why the imaginary and the real must be, rather, like two juxtaposable or superimposable parts of a single trajectory, two faces that ceaselessly interchange with one another, a mobile mirror. Gilles Deleuze 
Do not clean off dust specks, they are real. Benoit Mandelbrot 
Rock art search/re/search and plain walking in remote places becomes a drift as traces animate fragmenting juxtapositions. (Album: Northwest Nevada Drift)
DO NOT RELEASE OUTDOORS OR NEAR ELECTRIC POWER LINES — MAY CAUSE POWER OUTAGES reads the warning on the Disney Princesses Mylar balloon tangled in the brush rim-edge. Where from? Why here? Here: 1/3 mile from the Pacific Intertie powerline conveying high-voltage direct current — electricity without interruption — from the Columbia River’s Dalles Dam to Los Angeles. The LA converter station is less than 20 miles from Disney’s Animation Studio in Burbank. Standing on the rim with petroglyphs below I can see the towers and hear the hum of electrified hydropower flowing south. Power that supplies nearly 50% of Los Angeles Department of Water and Power electrical system's peak capacity; enough to serve 2-3 million LA households.
Petroglyphs, fur, bones, stones, glass, Mylar (aluminized plastic) — agency is diffuse. Rock art search/re/search becomes a lost and found endeavor: the fizzle of classification, the thickening of lattice. Vibrant material-realities illuminate evidence; a montage where meanings fold and unfold. Memory, the past in/of the now, curates an equivalence called future. The Princesses touched down in a graceful re-entry with no wish to blow LA’s fuses.
 Walter Benjamin, Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Verso Books 1997.
 Gilles Deleuze. Essays Critical and Clinical, trans. Daniel D. Smith and Michael A. Greco. 1997.
 Benoit Mandelbrot. Fractals and Chaos: The Mandelbrot Set and beyond. 2004.
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Living means leaving traces. Walter Benjamin