Jonathan Skinner stands at a lectern.
Jonathan Skinner arranges his notes on a small table beside him.
Jonathan Skinner selects a piece of paper from his notes and places it on the lectern.
Jonathan Skinner reads from a piece of paper.
Jonathan Skinner puts the piece of paper down on the small table beside him.
Jonathan Skinner glances at his note on the small table beside him.
The projection screen behind Jonathan Skinner reads, Thoughts on Things, Poetics of the Third Landscape.
Jonathan Skinner picks up a piece of paper from the small table beside him.
The projection screen displays a map that features Alfred Russel Wallace's five biogeographical regions, or realms.
Jonathan Skinner reads from a piece of paper.
Jonathan Skinner points to the map on the projection screen.
The projection screen displays an animation of Earth as it rotates.
The projection screen displays an animation of Earth as it rotates and Pangaea breaks apart.
The projection screen displays Gilles Clement's Global Garden map, which is a theoretical continent.
Jonathan Skinner points to the Global Garden map levels on the projection screen.
Jonathan Skinner flips over the piece of paper that he reads from.
The projection screen displays Charles Olson's Migration in Fact, of migratory patterns that resemble a rose shape.
Jonathan Skinner points at the projection screen.
The projection screen displays a photo of an empress tree with the Philadelphia skyline behind it.
The projection screen displays a photograph of Rubus Armeniacus, the Himalayan or Armenian blackberry, which has long leafy tendrils that reach over a stone wall.
The projection screen displays a photo of a partially snow covered empty field with tall grass as an urban landscape looms in the background.
The projection screen displays a photo of a hilly, grassy space.
The projection screen displays a photo of grass that grows up through concrete sidewalk cracks.
The projection screen reads, Mergansers, fans on their heads. Thoughts on things fold, unfold above the river beds. Lorine Niedecker, North Central.
The projection screen displays a photo of a Merganser, a sea duck with puffed crown feathers in swirls of black and white.
The projection screen displays a photo of several rows of rusted, metal gates, the first two numbered 5 and 6, with verdant trees that grow up in between them as part of an overgrown former industrial landscape.
The projection screen displays a photo of green vines as they wind over abandoned metal gates at Landschaftspark, Duisburg Nord, Germany.
The projection screen displays a photo of tall verdant trees that grow up in between abandoned stone walls.
The projection screen displays a photo of thick green vibes that carpet the structures of abandoned buildings.
The projection screen displays photos of Robert Smithson's earthwork sculpture, Spiral Jetty, located on the northeastern shore of Great Salt Lake, Utah.
The projection screen displays Robert Smithson's piece, Printed Matter.
The projection screen displays a photo of tall tree ferns.
The projection screen displays a sketch of a native plant from James Thomas Stevens's A Half Breed's Guide to the Use of Native Plants.
The projection screen displays Ken Cockburn's mesostic poem Dandelion, from Mesostic Herbarium, in the Flora of the Meadow section, which reads, Piss the bed, airhead, transient meadow parachute, milky tick tocked perennial.
The projection screen reads, Maggie O'Sullivan, Starlings, recording on PennSound.
Jonathan Skinner clicks on a link to play the recording.
The projection screen displays part of Maggie O'Sullivan's Starlings, which reads, Grinned jeers, gin's note, someone's in the leading of small and the pitch meander ears, tune me gold Dulthie pods. Lipper ochre harled electric contortions.
Jonathan Skinner looks over the pieces of paper in his hands.
The projection screen displays Julie Patton's Slug Art.
The projection screen displays Ofelia Zepeda’s poem, People on Wayward Journeys, Russian Thistle, Russian Tumbleweed, which reads, They have no use for traffic lights or crosswalks. They take fate into their own hands and roll across streets. They make trails across the desert to the reservation. On Saturday afternoon, they roll early into the village dance, semi invited guests.
Jonathan Skinner places his paper notes down on the table beside him.
Jonathan Skinner stops the projection screen.