In the Rider-Waite-Smith deck Justice, card number 11, is depicted as a crowned female character sitting on a throne, holding a scale with her left hand and an upright sword with her right hand. Justice conventionally refers to the capacity of judging and/or being judged fairly, as well as to karmic events.

In the Echo Deck, ​Justice, which is inspired by Ai Ogawa’s poem The Secret (328), corresponds to implicancy, as operative at the deepest level of existence, that is, at the elemental level. The phrase “deep implicancy“ no more than describes what one could say is the basis for deeper, elemental sociality. Here we have a joint appearance of sensation (thinking + feeling) and generativity, which is experienced as an eruption. When presented in such a manner, deep implicancy signals, even if it is only as a glimpse, infinity (The High Priestess correspondence) in its inseparability from generativity (The Magician correspondence). It does so, however, not through a formal, intellectual linkage, but as material connection, as an eruption. Now because it is given through sensation (feeling + thinking) and is inspired by the transformability of matter, this eruption of deep implicancy at the same time indicates a transformation in the moment of feeling (the possibility of attending to the emotional intrastructure i.e. fear, anger, guilt, shame) and of thinking (disinvestment from formal thinking).

In some of the artworks in the Green Snake exhibition, we’ve found a glimpse of something heretofore out of sight, an idea, a narrative, a thought, a sense which corresponds to the element Air. We’ve chosen the Crack as the image for Implicancy as it is given by Justice.

We glimpsed a crack in and through Marzia Migliora’s detailed drawing Paradoxes of the Plenty #54, in the decentralized virtual platform Asian Feminist Studio for Art and Research, in Natasha Tontey’s speculations on ancient technologies in Of Other Tomorrows Never Known. A crack is glimpsed in Tricky Walsh’s speculative AR story The information Catastrophe, in the VR work of Stephanie Comilang & Simon Speiser’s Piña, Why is the Sky Blue?, and in the procession of ghosts in Gidree Bawlee Art Foundation's  Lost Shadows.