This claim relates to later statements about humans being in the middle (like medium thinking as media being both an infrastructure of how we act and are) of the pandemic mediation in that humans are part of the process of transformation and intersection between themselves and other nonhuman powers. I think intersection in this instance is more of a cooperative and cohesive existence with nonhuman and human entities that naturally intersect.

In Covid, the embodied relationality between humans was substituted by sociotechnical networks (i.e. common beliefs or definitions of media as being a medium separated from physical human networks) cause a hybrid post-media life in which media interacts with the individual and the collective in the process of distinguishing between communications (medical from political media).

This claim of human being mediators of the collective affectivity is relevant to how representation and reality in media are intertwined making humans the medium through which humans must continue to create an increasingly integrative mediality.

This claim of the sensors data and monitoring of the common planet creates a sense-able Earth digital planet which requires a review of how environmental data and monitoring might arrive and exhibit different planetary inhabitations and relations. Thus these sensors express how observation practices are both experiences of the Earth and expressions of how to collectively inhabit Earth. This kinda of relates to Imbler's idea of collectively actively inhabiting the Earth through anthropomorphism.

The sensors are not only networks of analysis, detection, and responses to environmental events but are ways of describing environments and bringing them into being as sociopolitical worlds that reflect the differing ways of experiencing and navigating planetary zones.

How do these sensors function under the U.S and Canada's bilateral treaties in accordance with UNCLOS I,II,III?

The claim furthers the later points about humans empathy and anthropomorphism as a an appreciation practice towards incomprehensible objects or things. While humans inclination again may be to oppose those things, it creates a sense of reverence towards their "otherness" if you will.

This idea of defining objects, people, or things in opposition to us, rather than defining and grouping ourselves based on commonalities and inclusivity, we group ourselves by defining and excluding those who are opposed from us. It's like schismogenesis in that we define ourselves against each other.

This claim of the art capturing the temporal unfolding of a visual awareness that unites us with the cosmos in the very moment and divides us from ourselves furthers his later statements on the art both opening the visual field that (in the instance of the stars in the painting) gives the atmosphere of the sky as long as it merges with the field of the viewer or artists attention connecting ourselves with the cosmos.

Concluding claim that in fusion the atmosphere is with you and in fission you are with them while your body has become a ghost.

This reminds me of writing, in this instance rhetoric and writing is rhetoric and art, as an affective composition in that the context, style, and signification of the art affects how we are both sensitive to and can sense how it feels to be under the stars and ponder the depths in the experience of being under the stars that one might otherwise be unaware of. This makes Gogh's art "matter" because of its style like metaphysical graffiti from Edbauer.