It is from this hypothesis that we should imagine the city of the future. What it means to imagine cities if the mind for each species is embodied in the life of another species (or that each species is the mind of another species). What it means to imagine the city if we start from the hypothesis that the relationship between the species is technical and artistic.
The first idea to fall is that of natural selection and evolution. Fish, plants, chickens, bacteria, viruses, winds, oceans, moon, fungi and horses: it doesn't matter if they are large or extremely small, no matter which kingdom they belong to, all living beings are minds, and minds not for themselves (thinking, sentient, able to decide what to do) but for other species. All living beings are able not only to change their environment and other species in a conscious way and to establish arbitrary relationships with other species not necessarily oriented towards any usefulness, but to change the destiny of other species. What we call nature, observed from this point of view, is an immense city in which each species plans the lives of others, and on the contrary a sort of collective cosmic mind is built, produced by an endless series of encounters and arbitrary and rational decisions, taken by different species at different times, following the most bizarre and strange intentions of each of them.
The mind, the interspecific city, is the result of random encounters and ephemeral cohabitations.
Now, if each species is linked to another species like its mind, this means not only that all evolutionary development is a co-evolution (as Peter Raven and Paul Ehrlich taught), but also that co-evolution is what we normally call agriculture or breeding. Or, if you like, agriculture becomes the transcendental form of any interspecific relationship.
From this point of view, the choice of bees is not random. If you think about it, the relationship between flowers and bees is that of a strange inverted agriculture, where flowers force bees to become their geneticists, to make decisions about their genetic destiny (because it is the bees who decide who mates with who). The choice to put our mind in the life of bees is similar to the gesture of flowers. A flower, in fact, is a particular anatomical structure that puts the genetic and biological destiny of a species in the hands of another species (that of insects or other pollinating animals) or of another non-organic subject (wind, water, etc.) who then take autonomous decisions on who mates with whom, just as a breeder, a farmer, a geneticist would do. With one important difference. The decisions or the choice of the bees, about which flower to mate with which other flowers, are not based on a rational calculation but on taste. The evolution, therefore, is the result of a judgment of taste. It is the sensitive taste of one species that decides the fate of other species. This, however, means that evolution is nothing more than a fashion in nature, it is a catwalk that lasts millions of years, where one species lets other species wear new clothes. Each landscape is the equivalent of a contemporary art exhibition or fashion collection. Everything in nature is therefore artificial and arbitrary, as is every sphere of our human existence. What we call nature is just a multi-species historical art gallery, a sort of multi-species Biennale, an installation waiting to be replaced by hundreds of others. Each forest is the equivalent of a museum exhibition.