incompatibility —with the existing mass media context, —with any context that is current to them. And the objectives of art are the opposite of the objectives of power . Because there is no cause for justice, equality, fraternity, and the like. For happiness. The “antihumanism” of being itself, its at-oneness for evil, for “nothing,” the egregiousness of its truth and the “stand- point in the aperture of the truth of being” demands a rejection: —of mundane ethics, —of socialized pseudomorality, —of society’ s ideological paradigm. Following Adorno, there is a need to add to the arsenal of strategies the “eradication from art of unconscious impulses of social mandates.” There is a need to make art a source of unease and discom- fort. There is a need to make art an instrument of social war. Of course, this is just a strategy. After all, art, like beauty, has no objective other than humanity. Aleksandr Rastorguev (1971–2018) was a Russian filmmaker whose early documentaries include Mamochki (Mummies, 2001) and Chistyy chetverg (Clean Thursday, 2003). His movie Zhar nezhnykh: Dikiy, dikiy plyazh (Tender’ s Heat: Wild Wild Beach, with Susanna Barandzhiyeva and Vitaliy Manskiy, 2005), an epic insight into the lives of everyday Russian people vacationing at the seashore, won the 2006 IDFA Spe- cial Jury award for feature-length documentary. It was often compared to classic Russian literature—for its ambition, but also for its scale: the director’ s cut of the movie has a duration of 340 minutes. At the end of the 2000s, Sasha wrote about the imperative to “give a camera to the hero himself” as the next step in de- veloping a new language. And so he did in his next project, Ya tebya lyublyu (I Love You, with Pavel Kostomarov, 2010), an experimental film composed of videos by a few ordinary persons from his hometown who were handed the cameras. In 2012, he started to fixate on the lives of people who formed the opposition in Russia, through a number of short videos. This project, Srok (The Term, with codirectors Pavel Kostomarov and Aleksey Pivovarov), was later cut into a feature-length documentary. Rastorguev continued to work with different media outlets, teaching young filmmakers and creating short movies on different topics, such as the 2018 Armenian revolution or cadets in training. Rastorguev was murdered in the Central African Repub- lic on July 31, 2018, alongside cameraman Kirill Radchenko and reporter Orhan Dzhemal, while filming a new docu- mentary about the activities of the Russian private military company Wagner. Notes 1. Herz Frank (1927–2013) is a Soviet documentary filmmaker and the author of a short film, Par desmit minutem vecaks (10 Minutes Older , 1978). Viktor Kossakovsky is a Russian doc- umentary filmmaker. 2. This line appears in the prologue to Andrei Tarkovsky’ s Zer- kalo (The Mirror , 1975). MANIFESTO Insurgent Habitats: On Media and Environment Dale Hudson and Patricia R. Zimmermann We reject arbitrary divisions between the natural and built worlds, often associated with media and environmentalism. We jettison divisions between human and nonhuman life. We insist that analog and digital media must cohabitate. We have experienced how environmentalist media in public and semipublic spaces can open debates suppressed in private and state news media or lost within polarizing or segregating social media. If we are to survive, our media ecologies demand a poli- tics of insurgency based on multiplying perspectives that rec- ognize interdependence. Think Environmentally through Media Thinking environmentally is about more than noticing polar bears on melting icebergs. It requires understanding how in- 38 SPRING 2019