In the context of anthropogenic climate change, this article critiques the prevalence of ocularcentric strategies, such as spectacular large-scale artworks and data visualizations, questioning the epistemological assumptions underpinning them. The author proposes Tarot, a dialogical practice unfolding through a deck of cards, often used for divination or occult purposes, as a valuable method for addressing the cognitive and affective messiness of climate crisis. This article examines three socially engaged art practices centring Tarot – James Leonard’s The Tent of Casually Observed Phenologies (2017–), Adelita Husni-Bey’s The Reading/La Seduta (2017) and Denise Ferreira da Silva and Valentina Desideri’s poethical readings (2015–). These case studies advance an understanding of Tarot as affective cartography, foregrounding the embodied and interpretive labour of negotiating connections across different crises and contradictions. Tarot provides a social context to experiment with new possibilities, unsettling ‘rational’ habits of thought and rethinking the practice of ‘making sense’ in the uneven Anthropocene.

中文翻译：

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塔罗牌作为不平衡的人类世中的情感制图

在人为气候变化的背景下，本文批评了以视觉为中心的策略的盛行，例如壮观的大型艺术品和数据可视化，质疑支撑它们的认识论假设。作者提出塔罗牌是一种通过一副纸牌展开的对话实践，通常用于占卜或神秘目的，作为解决气候危机的认知和情感混乱的宝贵方法。本文探讨了以塔罗牌为中心的三种社会参与艺术实践——詹姆斯·伦纳德的《偶然观察物候的帐篷》（2017年至今）、阿德丽塔·胡斯尼-贝的《阅读/La Seduta》（2017年）以及丹尼斯·费雷拉·达席尔瓦和瓦伦蒂娜·德西德里的诗意阅读（2015年至今） 。这些案例研究增进了对塔罗牌作为情感制图学的理解，突出了跨越不同危机和矛盾的谈判联系的具体化和解释性劳动。塔罗牌提供了一个社会背景来尝试新的可能性，扰乱“理性”的思维习惯，并重新思考在不平衡的人类世中“有意义”的实践。