The earth’s core is an unreachable inner world. No matter how we stretch our imagination of a “habitable interior,” we’re still unable to see through the boundary of that geological stratum (both the images and data involve the issues of representation, conversion and storage, whether we observe it with or without machines). However, as the foundation for geological formation, the thermal energy of the earth’s core has influenced human beings’ mental state and physical senses. Our research shows that people heard the warnings about the possible eruption of the Tatun Volcanoes on the news several times a year in the 2010s. In face of the extensive media coverage of related doomsday scenarios, we find it imperative to reassess the relationship between humanity and geography apart from our imagination of the “destruction of Taipei” with trepidation. On the other hand, when entropy reigns supreme, global warming and sea ice melting may destabilize the motion of the earth’s tectonic plates. In this case, the islands in the Ring of Fire, including Taiwan, have co-constructed a tension-charged space for the existence of species/non-species with us in the tug-of-war between these two forces. Therefore, “neg-geography” is tantamount to a test site for geographical practice and negentropy presumption. In addition to examining local sci-fi narratives and imagination about the earth’s core, it addresses the question as to how the island’s material foundation (e.g., its geography, geotherm, strata, volcanoes, fault zones, and plate subduction boundaries) engages artistic practice in a close dialogue with geology, modernology, media ecology, historiography, and natural geography. Furthermore, it treats geology as a sort of cultural heritage and tries to clarify its relation to cultural practice, so as to cognitively reassess the raisons d’être of human beings and things with a rich body of geographical knowledge. Hence we need to build an expedition team to explore how geography and geology push the limits of our perception and artistic creation. During this period of nearly six months, we will weave a network of actions through different narrative interfaces and by reference to volcanic eruption potential lines, geothermal zones, fault lines, urban archeology, non-disaster-related documentary theaters, transdisciplinary talks, image co-creation, and location-based writing, thereby opening up rhizomized horizons—an action plan that switches our perspective, advances our knowledge, and brings us back to earth. By doing so, we can contemplate how the residents in Taipei (as a “volcanic city”) dwell in the geographical ecology constituted by the Tatun Volcanoes.