This text focuses on the interpretation of the work Geological Evidences by visual artist Matthew C. Wilson. The author reconstructs the methodology of Wilson’s artistic and research work. Furthermore, he analyzes the poetics of the film in order to draw attention to the goals guiding the artist as he constructs ambiguous representations of contemporary techno-culture-natures using specialized instruments and in close dialogue with discourses and practices of technoscience. In the first part of the article, the author argues that the formal tricks used in the film can be successfully characterized by referring to the concept of estrangement (Viktor Shklovsky). At the same time, however, he updates the cited category, pointing out that the deautomatization of perception in Geological Evidences does not serve to restore the sense of organic unity with the stable world in statu nascendi, but rather to highlight the dynamic relations of human with the environment. In the second part, the author places Wilson’s work in the context of speculative practices in the contemporary arts and humanities, which aim to expand the social-ecological imagination in light of the progressing global climate change. Keywords: estrangement, Anthropocene, ecological imagination, art-based research, metabolic rift