My camera has face detection ability so I point at the clouds and wait for glitches to become craft. Humorous phases of funny faces, assorted atmospheric beasts mug for this algorithmic assist. Elsewhere this might be called glitchcraft, or, a variant on cloud computing wherein one is engaged in the querying of a database imaginary.
Prying open a can of worms is accomplished in reflecting on the tinny containment of fishes, or of fishy formal concerns for tinplate residuals. One might, in other words, go about wandering and wondering in the shadow of salmon canneries specifically, future influence generally. All this upon encountering an anomalous form protruding from watery depths on an otherwise unassuming summer evening in western Washington.
To call the causal agent in this scenario a “design object,” is inappropriate, but still a by-product of industrial design processes, it is. As pictured above, a hardened blobject in Bellingham’s South Bay, meteoric in appearance, and so swathed in an inaudible hum of suggestive correspondences including any number of fast-approaching conflagrations and otherworldly imaginings.
Future influence employs the curious mechanics of backwards causation, or, in layman’s terms: effects occurring before their causes. This is not easy data to parse, redolent of reverse-engineering fiascoes, remediation at its limit stages, a cargo cult in waiting? This anomalous meteoric thing was asserted by a local historian to be an excessive accumulation of scrap tin, a pile-up dating back to the heyday of the fish canneries in western Washington over a century ago.
Today, a retrocasuality of retrocausality it is, in effect. Uncanny, and of canneries. Gray areas Persist.