The language of 'climate grief' has recently been popularized across the English speaking world, with many in North America beginning to host regular 'climate grief circles'. These gatherings allow for the collective processing of feelings associated with climate-related grief. If the 'grief circle' is one common strategy for moving through personal grief within one's immediate context, the monument scales many of the same functions. Moved by Robert Nixon's provocative question, ‘what is a war casualty?’ (2011: 200), this paper considers how performance-based commemorative devices might calibrate to the paradigm shift of ecological collapse, so as to allow us to see, grieve, and respond to the more-than-human loss of military conflict. Mobilizing a choreo-political analytic to examine techniques of memorialization which cultivate affective resilience and complexity in response to anthropogenic loss, this paper examines the durational performance installation and living (counter-)monument Operations (1945-2006): Movements, developed by boundaries/conditions performance assembly. Operations stages a dynamic encounter between human dancers and non-human actants. A field of sod which blankets the performance space interrupts the dancer's choreographies with its unwieldy presence: the more it is worn down by their repetitive movements, the more it discloses its vibrant materiality (Bennett 2009). I argue that Operations champions the affective polyvalence explored by Timothy Morton's dark ecologies: through its particular strategies of durational commemoration, Operations allows for the slow emergence of affective response which relay between the dark and the sweet.

中文翻译：

---

哀悼的编排

“气候悲伤”的语言最近在英语世界中流行起来，北美的许多人开始定期举办“气候悲伤圈”。这些聚会允许集体处理与气候相关的悲伤相关的感受。如果“悲痛圈”是在一个人的直接环境中处理个人悲痛的一种常见策略，那么纪念碑具有许多相同的功能。被罗伯特尼克松的挑衅性问题“什么是战争伤亡？”所感动。(2011: 200)，这篇论文考虑了基于性能的纪念装置如何校准生态崩溃的范式转变，以便让我们看到、哀悼和回应军事冲突的超越人类的损失。动员舞蹈政治分析来研究纪念技术，这些技术在应对人为损失时培养情感弹性和复杂性，本文研究了持续性表演装置和生活（反）纪念碑操作（1945-2006）：运动，由边界/条件性能装配。操作上演了人类舞者和非人类演员之间的动态相遇。覆盖表演空间的草皮区域以其笨拙的存在打断了舞者的编舞：它越是被他们的重复动作磨损，它就越能揭示其充满活力的物质性（Bennett 2009）。我认为运营支持蒂莫西莫顿黑暗生态探索的情感多元价值：通过其持续纪念的特殊策略，