Deboche-Dingboche In the Imja Khola, generations of time are seen. Layers of rock, and more so the years of carving this rock, levels of water and ice; the water, meltwater, from the glaciers up the valley. All working in concert, intelligible from the other as never separate. A more-than-human agency in action. If we can look at this as different components or actors in an entanglement/assemblage that act within each other to form this place, this movement and activity, that when we include also in this entanglement a human influence the way of looking at this is no different [and don’t forget the human behind the camera]. The human influence here is from the melting of the glacier upstream, the risk of glacial lake outburst floods [and more]. The trail winds over talus to the steel and wooden bridge, adorned with prayers via fabric. The dirt and the path is more constructed by human, up a slope that is less navigable without human influence. Metal is necessary to abut the encroachment of erosion, caused by more-than-human factors made worse by human. Rocks, more commonly used to brace the hillsides and trails contain the path as well. The dirt is not inert. It is pushing against (the metal/rocks) pushed down (by metal/rocks), the first layers affected by the weather systems (wet and dry) and the sun. The feet of mostly humans, but also four-legged creatures, insects and many more-than-humans that move across and under this dirt, the roots and shoots of the flora that hold together the dirt and make passageway and more are this dirt. No less inert than the energy that creates this shadow or the feet that move up in the photo. This is the agential infrastructure of the trail. Each function of this trail mentioned is in concert, inseparable than the other, as in their intraactions identity and meaning is enacted.