Geohiologists argue that the future of space exploration lies in the understanding of mineral-microbe interactions. Considering putative microbes, stromatolites and other mineral-microbial compounds allows us to question our claim to nature as non-human, object, commodity. This project consists of a critique on the closed system conceptions of nature and speculates on the impact of series of interventions where space technologies allow communities of Lake Chad to adapt to climate change. Donna Haraway's motif of the "Chthulucene', an imagination of the world and critique to the Anthropocene, conveys a reflective image of human concerns on Earth, considering the scale, multiplicity and trajectory of our mediation of the environment. The work of theorists such as Haraway, Isabelle Stengers and Karen Badar grant social claims to scientific theory which could be used a catalyst for creative practices. The work of science fiction is inspirational in the concept of constructing a rigorous imagination, taking Ursula Le Guin's method of destabilising fiction, the project seeks to portray images, reimagining modes of living in Lake Chad. This research has considered how art practice can be mobilised as a tactical tool to convey an image of space exploration that conveys a multiplicity of nature; understanding an urgency to recompose the rights of nature, and what the image of it is. Disrupting the biotic/abiotic boundary and our claim to nature as something to master or protect, are important processes to engage a collective expression of scientific practice. This work considers the topic of planetary health from the micro to the macro; concerns from climate change, resource depletion, and bio-piracy, to gender fluidity and our relationship with machines. The bodies that understand the political claim to scientific problems are those that have traditionally had restricted access: women, minorities. By claiming for rights of nature. multispecies, we can disrupt binary thinkin
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