All of a landscape’s actors are performing techniques. Techniques enable actors to perform actions. Actions like reading, writing and navigating a space, executing a task or communicating with other actors.
Humans are one kind of actors, in parallel with many kinds of actors. Human techniques, as languague or ultrasound navigation and ranging, are only some kinds of techniques, in parallel with many kinds of techniques.
Example: Since 1917 humans are utilizing ultrasound in technical applications, while more animals, like rats, mice, bats or dolphins have each developed ultrasound-based communication techniques already well before us. Also Trees are able to produce sounds in the ultrasonic spectrum, when they are in danger to run dry.
Through techniques actors are developing organized, nested structures. Through techniques they interleave in a location. All structures that share a close neighborhood are being interpreted as related to each other. The impression of a landscape emerges.
Therefore landscapes have to be read as technoid by nature.
The technoid landscape can be any location, that is being read as a product of actors’ techniques. The technoid landscape re-interprets the already known, but unparses humans and their cultures and techniques as superior or advanced.
The technoid landscape does not alienate humans from their environment, since humans can no longer be distinguished by their so-called "non-natural" cultures and techniques. The technoid landscape includes humans, their cultures and techniques as components.
Human-made techniques are no longer something radically new or other, but have to align to the assembly of techniques that have already been implemented by nature.
The productions of human-made machines and techniques have to develop an urgency to strictly align to the standards of the naturally implemented techniques.
Therefore products are to be written as natural into the technoid landscapes.
Example: Apple trees are utilizing their fruits as material components in their process of reproduction. This process of reproduction is deeply embedded into the interaction with neighbors of the landscape, who participate in this reproduction process. Only after a few months, the apple is completely consumed by many actors as nutrient.
Reading and writing a landscape as technoid urges to decompose all intentional and unintentional products of human-made techniques. The techniques of the technoid landscape do not return waste.
This example only hints to the most obvious possible interfaces, that we as humans have to use, to participate in the infrastructures of the technoid landscapes.
We as humans have to re-render ourselves as actors of a nature, that is not being threatened by techniques, but by human exploitation.
We have to design and perform our human-made techniques as instruments of curiosity, communication and interaction. We have to act in a framework that rejects arguments of human supremacy and instead embraces the human interdependencies with their environments.
We as humans have to read ourselves as actors of a technoid landscape, that derives from the close circuitry of entanglement with many.