[...]
talking about ‘conflict’ is also like this, is a “political” speech, an “operative” language, it “presents” the object of my action to me, which is democracy, and not Colombia

(some figurative ‘violence of language’ =/= [Austin, Derrida, Butler ==>] i am talking about paying attention to) the language used in a certain manner by certain agents --> studying in KHM media school teaches me to be careful with the erasure of distance, mediation, reference, representation, to be careful with the collapse of hermeneutic (in any discourse) --> the labor of transparency [@Mona @Ali ]



(the very strange claim [made by political leaders] that) force is a kind of language, and not just any language. It is one which solves the problem that seems endemic to all things linguistic, namely: failure, indirection, misunderstanding, drift. [...]that the language of force actively and successfully delivers its message --> a fable: “everybody understands the language of force” (unlike ordinary, diplomatic, political language) --> the readability or communicative power of the utterance, violence is seen as continuous with discourse --@Mona
[*]violence: “speaking the (only) language of the other” --> (very strange fable:) that violence is noninterpretive direct(~ umediated) and nonanalytic, that it is unmisunderstandable, that it takes hold and transforms its listener [--> fantasy of affective communication], hermeneutic and cognitive of the language is effaced and what is left is only *delivery* itself [@Ali's way of talking has a hint of this (a self-erasing speech,) he “delivers” his (political) message to me #tattooing me }--> the silencing/elimination of his interlocutor, **the little annihilatory gestures** of my friends], that it [violence] aspires to a *pure present*

•this is a translational problem? Keenan
•how do we know when things cannot get any worse?
•when/where the translation should stop? @Ali @Sina --> this is about the ethical risks (we are making all the time) in mistaking an annihilatory gesture for a discursive or political one


there is no language which needs no translation (not even violence)

*translation: an active relation between and within languages =/= to overcome language --> is exaclty where the name politics ought to be reserve (Ranciere) (--> that is why i am doing political work [my work on: discordant objects of reference, misunderstanding, active deconstruction, etc. my ‘personal responsibility’ to insist on space of difficult translation])


unilateralism of an imposition: universality of human rights
(Keenan:) human rights = standardization of the rhetorics of claims we make on each other --therefore--> an open and undefined field of operation (and not some essence about humanity, nor law. Keenan is helping me not to think of human rights as an old fashioned, transcendental, essentialist, ontological discourse, grounding definitional basis, categorically an enemy's discourse)



military urban research (employing critical theory) --> use of theory as the ultimate ‘smart weapon’
-Deleuzian theory influences military tactics and manoeuvres --> a form of discourse between enemies
contemporary military theorists (in US TV series, re-conceptualizing the urban domain)
...military with the spatial and organizational models and modes of operation advanced by Artificial Intelligence, swarm intelligence, Deleuze and Guattari, Gregory Bateson, Foucault, Guy Debord, Bataille,


conflicted peace and peaceful conflict
competitive military buildup

...................................

Keenan on working with images politically --> *politics of exposure (or revelation ~-> forensic)*
(increasingly important dimension of political) *image-making*:
--more--> the event takes place in order to be photographed and reproduced and rebroadcast, transmitted and distributed, copied and viewed --> dissolution of the obvious political spaces =/=
--less--> making visible something that is otherwise hard to see (~= converting observation or visualization into knowledge in hopes that some kind of action will come about, based on the rational, reasonable, deliberate interpretation of those images) (<-- a lot of social justice activists, human rights organizations, and civil society practitioners are still working within this realm of the traditional image)

a bad (revelatory) theory of the (rational democratic) public sphere : “visual representation of things ==> known to a wider public ==> knowledge properly considered ==> wise decisions ==> actions”
=/= (a more properly) political moment of: inscribe images --within--> a narrative or a persuasive project --within--> a campaign that actually narrates them (captions them, makes them more available for some kind of political action) and doesn't just take for granted that their meaning follows automatically

the way performative dimension involves a kind of action that doesn't pass through the same cognitive circuits or the same process of knowing (in images)

•living by the image
•vulnerable to the exposure of the distortion or falseness of the image

to get a rich sense of the political context in which you operate (knowing about the history, knowing what the local forces are, who the actors are, and so on) =/=  ethically-self-confident political movement reassured by the quality of their own good intentions ==> skip over a lot of local analysis, research, or interaction

...is it a humanitarian catastrophe (a crisis of suffering) or genocide (a crisis of an
ideological sort)
quasi-raw material of images --> recoding, contextualization, narration,

the bad stories and failures (in our lifetime) that do need to be excavated and thought about

Keenan --> *the fantasy of being able to move so directly from knowledge to action that one almost skips the moment of knowledge altogether* --example-->{ Barthes in his woodcutter: a woodcutter in cutting the tree manages to avoid language (something that needs no translation, the woodcutter in unilateral relation to the tree), in which “language” is representation, knowledge as representation, “act the things” --> Barthes skips over all the opacities and paradoxes and difficulties of representation and just goes after the tree directly

*there are demands which are placed on you that won't wait for the knowledge that is necessary* (or situations in which you might feel as though you've been overwhelmed by too much knowledg)

[*]responsibility: (when) one has to act in a way for which the knowledge doesn't provide a full alibi ~ one's action is in some important way disconnected, or not entirely saturated by one's knowledge

every event (take September 11) is rich in translation, a moment when an enormous number of competing narrative frames were already available for understanding or processing or
reading what is at stake --> there is no unequivocal act


*witness: (in the fantasy of the act) the witness for whom no translation is necessary* --Levinas-Blanchot-Keenan--> hostage (for example images of Abu Ghraib prison in Iraq, the media, the public event takes us hostage): a position of extreme passivity that is equally the most intense experience of responsibility

-what is the political effect of revelation? @Ali

beyond the immediate shock effect of the images --> they are testament to the ways in which many different political actors make use of them (over a long period of time) --> with interestingly different outcomes

...intermediate space between a traditional secret (susceptible to revelation and exposure and delegitimization) and a kind of increasing public acceptance (that the question of torture could be openly discussed: “it's not an absolute, there are moments when, there are individuals for whom...”) --✕--> public discussion


the too high threshold for entry into political discussion (or resetting political agendas) --> the mythic completely innovative inaugural agenda-setting event =/= low-threshold ideas (look like *reactive* ==constitute==> proposition about a very different way that the future should be organized)

@Pierre, apass: placing something into the political sphere --> pure innovation (the mythic alternative = completely innovative inaugural agenda-setting event) ==> the too high threshold for entry into political discussion =/= low-threshold ideas (might look like *reactive* ==constitute==> proposition about a very different way that the future should be organized):
•slight shift in emphasis
•slight shift in interpretation
•a little re-definition
•a reactive mimicry
•




expendable people targeted for discrimination, injury and death, in a continuing wave of violent economic, psychic, social, political, medical and juridical assaults


Keenan on the possibility that justice might not be simply possible

deconstruction's ethico-political pertinence:
•reference to its thematic or referential considerations of issues (ethics, race, feminism, etc.)
•its formal homologies with political interventions --> deconstruction of authority as liberating ideology-critique
•ruin the categories on which political discourse and reliable knowledge found itself
}==> axiom: ethics and politics are matters of choice : determinations and acts of a subject with an identity (whether strong or weak) held to be [*]free: capable of understanding and integrating that knowledge with a response to the demand to act
[*]subject: name of the time and place in which knowledge can be articulated, *the right to the passage from knowing to doing*

undecidability --> Derrida
unreadability --> de Man

-what is more radically unsettling than criticism? (...reading)
@Sina

“the subject who reads is the subject who choose” ==> responsibility

...................................

Eichmann --> faced a legal forum
Mengele's skull --> faced a scientific forum
}--Keenan--> (two different discursive operations) each *inaugurates* a fundamental concept and practice within the politics and epistemology of war crimes investigations

*cultural turn towards testimony* --> the speech of the witness

[?we are in the] era of the witness --> legitimized and validated victims

dramatic and emotional
trial: form of historical and political pedagogy
not merely to convict the accused but to “reach the hearts of men”

political agency of witnesses (survivors)

narrative in war crime investigations --> document ~= witness --> forensic approach

human remains are the kind of objects from which the trace of the subject cannot be fully removed

exhumation
examination

...................................

Mona is actually concerned with the separation of the spheres of ethics and knowledge
strength <--> “Gewalt” <--> valere <--> Vale <--> value*

vergüenza, a collective sentiment, of one's own dignity and self-esteem, shame
vergüenza ajena --> fremdschämen --> (one of the essential features of aidos/aidôs [αἰδώς]) the Greek personification of modesty
“bashfulness,” “diffidence,”
“respectful,” “reserved,” “revered,” --> vereor (or vereri): in religion, “to fear,” “to revere,” حرمت “to have respect or scruple for.” Vereor belongs to a family of words that derive from the Indo-European root ᵒswer-, meaning “pay attention,” like the Greek horan [ὁϱᾶν] (to look, pay attention, see)

one must take the path in exactly the opposite direction

(let's not be) persons con vergüenza : persons of honor, persons of their word. It is not so much that they keep their promises, but that they are bound by the word that they have given --> they commit to cumplire: “to carry out,” “to accomplish a mission,” [=/= “leaving your post,” Kafka]

vergüenza =/= to attack the community }-->? khashm خشم indignation: rupture of an implicit contract based on norms and conventions

the sentiment (and performance of Tarof in a weird way, and) of verguenza construct relations of social solidarity, the tie --> to give structure to the relationship to the gods (as well as that between persons) --> *aidos* becomes constitutive of shame civilization (that continues to mutate)

shame, sham, to “cover up” shameful parts
aischune[=/= *aidos* (==> *kleos* “fame”) defines the Homeric hero, aidos precisely identifies the definitive requirement of the hero, his “regard” for his philoi (φίλοι  royal friend/advisor of the king) and his genos (γένος, social group claiming common descent)]: to dishonor [=/= beauty, in Plato] }--> to disfigure; tied to the body, and in the case of the female body --> blush, as in the sensitive plant

aidos (~= moderation [provoked by the regard and expectations of the other]) =/= *excess* [--> in my lectures i usually don't respect/regard the expectations of the other]-->? that which separates me from the Homeric hero

(these are all about the regulation of the world)--> in a way also that which Mona demands
Mona need to analyse her question of (caused) violence and calamity:
•disposal the Promethean technai [τέχναι] (when she asks “who gave them the tool to kill?”)
•the logos [λόγος] of the arts and discursivity (when she demands conscience and justice [~ dike, another greek tool])

for Aristotle: aidos ==> clean ethics: pathos (an affection that involves the body)
*the form of fear proper to free men* --> properties proper to truth

from aidos [linked to the Latin videre (to see)], to vergüenza [linked to the Greek horan (to see)], we remain in the space of the *gaze*

...................................

Veena on *how knowledge is secreted in relation to catastrophic events*

‘inordinate knowledge’ --> beyond the act of merely knowing
=/= pale intellectualized distracted archived knowledge --> it is the subject who has
to discover which aspects of knowledge matter to her and where her attachments lie

--Veena--> (with pale or excessive, it is not the form of knowledge, rather) it is the way in which knowledge enters the realms of the social

those who have to endure what they cannot ignore
pale --> bare --> dark --> filled with plenitude

different modes of knowing as means of navigating the catastrophic (=/= simply knowledge about an object)

*reality does not have that frontal character*, (it is rather) like atmosphere, deeply embedded within context
[*]context: the weaver's loom that is discerned within the cloth it weaves

Donatelli --destruction--> small, recurring, repetitive crises that define everyday life itself or are grown within the everyday
*event of traumatic loss functions as:
•an event
•a figure of thought

20th century as the century of genocides : the story of collective violence from the point of view of victims and survivors <-- we must contest this story

•(Kleinman & Kleinman, Mookherjee:) victim stories ==> voyeurism
•(Fassin & Rechtman:) ubiquity of a trauma narrative substitutes critical engagement with the structural forces of inequality (or discrimination by a psychologizing of experience and of subjectivity)
•
•

category of the victim is not transparent =/= bureaucratic legal forms through which the victim status is produced aligns with very different kinds of knowledge (shamanic, ritual, genealogical) to generate different kinds of affects

1947 Partition of India (marked by massive intercommunal killing, rape, and abduction of women) ==/==> victim
==> refugees, evacuee property, abducted persons

his fictionalized account of my responses to his questions inspired me to think
(your fictionalized account of my response to your question inspires me to think)

[to] rake the fallen leaves of language and literature to recreate experiences...

(usually) “treason” ==> massacres and violation of human rights by governmental forces

(one is forced to see events in other countiries in the light of issues pertaining to)  transitional justice and the global form of truth

unknown dead imagined as hungry and thirsty ghosts
*the living cannot offer the dead solace because the unknown dead cannot be placed within the grid of genealogical knowledge necessary to make them into benign ancestors*
-the difference between kin and strangers, ancestors and ghosts

**hospitality being offered to the stranger could also become a way of reincorporating the estranged kin**(? -iranian hospitality?)

the intertwined nature of bureaucratic power and ritual action

the dead are haphazardly buried that have to be then contained or transformed through shamanic knowledge and ritual manipulations? -Veena

modern bureaucratic procedures ==> tear apart the continuity of generational connections <-~ the work of ritual to restore connections is engaged

the different ways we come to know something =/= the experience of ‘carrying’ a knowledge


...unknown dead in a milieu in which ancestors and ghosts are not simply distant and abstract concepts but are felt with every sinew of the body, who come to haunt the descendants through dreams and apparitions =/= Ta'zieh: ancestors in contexts in which the relation to the dead is commemorated primarily through national rituals

(in the Jeju uprising/massacre case that Veena studies) ‘victim’: the qualifying condition for genealogical connections to be maintained in imagining kinship as constitutive of the relations between the living and the dead [=/= victim: an appeal to the authority of subjective experience, or the knowledge produced by the State about the dead as victim or traitor]

bureaucrats (victim or traitor?) and shaman (ancestor or ghost?) --> entanglement of different ways of knowing and classifying

(for the survivorss of Jeju after 70 years) inordinate character of knowledge appears in this world as the unbearable burden of not being able to convert your dead kin into ancestors consigning them to a ghostly existence

--> so that the ancestors can rest peacefully in death and less in terms of the discourse of transnational justice or human rights


reputation of a woman --> the marriage prospects of girls --> ideas of purity and honor --Veena--> “poisonous knowledge” secreted by the large-scale abduction of women (in India-Pakistan Partition)

-cultural understanding of sex as especially polluting for a woman

disclosure or a coming to know that a close relative had a hidden history tied to large historical event --> announcing an “otherness” to a close relative with whom one had inhabited a life.

Partition ==> distortion of everyday language itself and its bodying forth
bodily nature of language
poetry suffused with exquisite portraits of grief
the sense that kinship relations themselves have become lethal

(journalism's) trap of knowledge/ignorance (ruth/falsity) binary [asking for formal solutions to problems of indeterminacy because of the finitude of knowing subjects or veiling of objects] =/= (Veena trying to) attend to regions of knowledge that can turn us to change the questions we ask

(inordinate) knowledge is contended with locally, diurnally, repeatedly

Veena asking how is this knowledge [catastrophic event secrete knowledge in the everyday] endured or contested; concealed or revealed; and what are *rhythms* of these movements?

*inordinate knowledge*
-as citizens, how do we deal with the knowledge that torture is regularly practiced as part of the security apparatus of many democracies?
-what responsibility do we bear for these practices that are before our eyes--that we cannot but help know?
-As relational beings how do we reveal the extent of sexual violence or violent histories of our families to our children and to our grandchildren?

(?to make) responses in terms of the cultural repertoire of one's own society relating to the care of the dead

the necessity of embracing a mismatch between harm and healing, between not knowing and shading your eyes from what you cannot but help know [-acceptance of a certain degree of ignorance as essential for life]

...................................

Ahmed, Sedgwick+Frank @apass
installation of an automatic “anti-” (for example antibiologism, as the unshifting tenet of ‘theory’ --> *routinized antiessentialism*) ==> loss of conceptual access to an entire thought-realm***

immersed in a precritical understanding of the body
the idea of biological construction having been rendered either unintelligible or naive (in feminism --> an avowed interest in the body + a persistent distaste for biological detail)

interested in antiracism and politics of globalization --✕--> crucial dimension of research: body <== “the precarious, accidental, contingent, expedient, striving, dynamic status of life in a messy, complicated, resistant, brute world of materiality, a world regulated by the exigencies, the forces, of space and time” + the conditions under which bodies are encultured, psychologized, given identity, historical location, and agency


*(you can) speak (back) to postmodernism (or democracy etc.), rather than simply speak on (your relationship to) it*

...................................

Hayward on the role of embodiment in visual cultures + meaning of animals in representation

*to envision animal* = to visualize, to experience, to figure, to image, kinds of species, discourses, representations, institutions, histories, epistemologies + to “imagine possible” a set of material and ethical relationships between species

envisioning:
•a mode of seeing and embodying, of immersing and inhabiting, and of storytelling and theorizing in a techno-scientific world of “eye machine”
•a range of practices for situating the “self” (that tender thing in postmodernity) in places and spaces grown thick with entanglements and consequences; a form both of “to face” and “to perceive”

aesthetic conceptions of beauty and/or ambiguity coupled with biological epistemology and phenomenology of the organisms --in--> in Jean Painleve, Genevieve Hamon, Leni Riefenstahl, David Powell ==construct==> a host of hybridized and enmeshed “encounters”

biosemiotics
zoosemiotics
-humanist fascist aesthetic --> desires to memorialize “beautiful and unpolluted” coral communities
-promise of immediate and luminous experience of “jellyfish otherness”
-systems (of power?) that constitutively produce animal and human actors



human-animal + nonhuman-animal + apparatuses --> co-constitutive in the process of trying to know something about whale ecology

(Hayward > Whitehead:) concrescence: “we” (con prefix) ere- (create) scence (sense, or the “scene,” that which is seen), the present is given by a consense of subjective forms. We are multiple individuals, but there are also multiple individual agents of consciousness operant in the construction of the given.
-literal materialization of a dynamic produced

photograph (only one part, a kind of lively limb, of the relay):
(ajayeb style -->) a bumptious and lively event of the processes of whale studies and whales themselves =/= a still record of a whale “that had been there”

the image: a kind of connective tissue, soliciting one's senses

solar light --> brushed up against, even touched, the whale --> translated through the camera --> into film --> into chemical bathes --> into photo-paper --> through my eye as a research assistant

}==> ‘photograph: material, immanent, interconnected’ ==> somatic intelligibility (embodiment) to my own somatic intelligence ~ enacted an encounter between the senses (subjective feelings) and their sense (objective knowledges)

a mutual embodiment <-- shared in the event of the photographic space

experience of these photographs [whale or telegram animal video]: an instance of *sensuous knowledge* --> way we are in some carnal modality able to touch and be touched by the substance of images (to feel a visual atmosphere envelop us)

(Grosz's) [*]perception: flesh's reversibility ~ the flesh touching, seeing, perceiving itself, one fold (provisionally) catching the other in its own self­embrace

human/animal and technological sensorium


-Hayward asking how coral communities create representational ruptures in photographs
-Sina asking how telegram virtual communities create representational ruptures in the real of human-animal of Tehran, how the enfleshed animal mobile phone photograph touch us
}--> liveliness of humananimal encounters [the way in which my aesthetic and ethical senses merge with animals in the flesh]
-how people get along in concrete, metamorphic, phantasmatic ways
**sensible and sensual ensembles of materialized capacities and activities that literally and metaphorically make sense of, and to, ourselves and other animals**


(Ihde >) [*]phenomenology: a philosophical style that emphasizes a certain interpretation of human experience and that, in particular, concerns perception and bodily activity --Hayward--> a theoretical practice grounded on the carnal, fleshy, material foundations of subjectivity as it engages and is transformed by and in the world

we attend to: content + form + context


invertebrates, product of displacement and comparison, a ruinous verb turned noun turned classification --Hayward--> foregrounding and rethinking the syntax, optics, and heterogeneity of vertebrate and invertebrate relationality

accountability and responsibility in the enmeshment of knowing, doing, seeing, and being

(we need less philosophizing and more) *envisioning: an enactment of dynamic en-figurings that imperil boundaries that clearly differentiate self and other without the loss of historical, cultural, and species specificity*

...................................

☾
light has illuminated western stories
•God said, let there be light: and there was light
•solar radiance --> refracted planetary atmosphere --> earth's watery matter --> lively forms

•life shaped by ice (Meloy)
•life shaped by dark (Mohaghegh)
•life shaped by animal (Sina)
•life shaped by light (Hayward) --> the invisible medium that makes a knowable world visible; *seeing light: a trope for making visible in a comprehensive form (such that they are real)*

1. *philosophy is photology* : language of philosophy is constituted by metaphors of light
2. sunlight metaphorizes into transcendent light : a heavenly light promising liberation from the flesh


transgenic technologies ==>
jellyfish + GFP (green fluorescent protein)
rhesus monkey
glowing kittens
transgenic pigs
(...animal examples of chimeric and impure)--Hayward--> articulation of carnal interdependence across species boundaries

bacteria, yeast, fungi, plant, fly, human cell

chimeric borderlands of GFP and transgenics
pushing against the perceptual and affective registers of laboratory walls embodied selves, eating practices, living conditions

bio-capitalism
animal industry

(Hayward on) carnality and radiance of naturecultures
(welcoming a) multidisciplinary table of where light is being eaten


visuality as corporality
light = meat

(Latin word) lumen: light, lantern, lamp, clairity, understanding, the central cavity of a hollow structure in an organism or cell

*somalumenal: how might luminosity, effulgence and illumination be about embodiment or corporality? light transubstantiated into flesh and matter (=/= body transcended by the thrills of enlightenment and radiance)*


(my work on telegram bestiary:) *post-animal studies*

[*]tranimal: a synecdochically imagined correspondence written as a portmanteau word --> changes in our understanding of bodily transformation, somatic and sensual synthesis that manifests synecdochically (a figure of speech in which a part is used for the whole or the whole for a part) =/= metaphorically
[Cinderella is synecdochic]

*trans-
ongoing labor of cross-species agents
energetic and material crossings that disrupt bifurcated categories

(Haraway + Hayward) metaplasm قلب حروف: a change in a word (by adding, comitting or transposing its letters, syllables or sounds) that can signify a mistake, stumbling, a troping that makes a difference [in joined natureculture --Haraway--> flesh and signifier, bodies and words, stories and worlds]
to inflect tranimals with its tropic kin of antimeria that turns nouns into verbs, that mobilizes, incites, activates persons, animals, places, things and ideas

*i am rubied by your attention* : the relay of energies and forces (not just encounter) ==constitute==> ontology

[*]ontology: what there is + what debts we owe to it --> we owe ‘sensation’ to life's ‘insistencies’ : (Hayward arguing) we must respond to *life's insistencies* through sensation (corporal prehensions)
--(?why to write:)--> **noun = transitional responses to relationships** (=/= direct products of environment)
==?==> percussive distribution of affect

boundary: refracted interfaces of passage, prepositional orientation
sensuous being: unmetabolizable more, the residue of passing

jellyfish sting story
“a jellyfish stings human skin, leaving an empurpled mark that inscribes the boundaries of tentacle and skin (somatic technologies), but the excitation (sensorial transit) of burning and blistering energy remains partly unmetabolizable--this remainder is differentiating and binding. so excitation is not necessarily predicated on positive joins of ever expanding units of life, but emerges between them and therefore can be generated through haemorrhaging [flow of blood from a ruptured blood vessels], excising, amputating” [& killing(?)]


breaking fast with glowing light
Kac's GFP bunny: (chimera of) rabbit + jellyfish + human + technology

making bodies materially luminal --Hayward--> تابش effulgence bound to meatier substance =/= extraterrestrial force of more heavenly bodies
(-what about the moon?)

sexual planktonic medusa
دو شکلی dimorphic life history
جانور دریایی pelagic drifters

[*]drift: to be carried slowly by a current of air or water :
•move passively, aimlessly or involuntarily into a certain situation or condition
•a steady movement or developement from one thing toward another
•*your body is an index of its environment* (= jellyfish: when provoked give off a green glow... *glowing in response to provocation*)
•to be sent adrift as mutation
•the general intention of an argument (--> in writing: *technique of drifting*)
◦poetic joints
◦mixing ontologies into larger organizations
◦

blend of tissue
reorder not only life but also light

-(Sagan -->) life: how matter interacts with interconnected systems that include organisms in their distinct perceiving worlds

-(Uexküll -->) Umwelt: perceptual bubbles (of the most unidentifiable animals: ticks, spiders, inverts) ==> ‘organs of animals are counterparts of lived environments’ : ***animal body: inverted map of its environment*** (mediated by its capacity to interpret habitat through bodily sensation) [Uexküll using music to define the laws of nature: “life = musical response,” effects of *animal capitalism*]

to travel through stages of evolution of the consumer product ~=> becoming a new harmony (<-- using jellyfish as advertising in posthuman consumerism)

-(Lingis -->) [*]sensation: ملقمه amalgamations made of movements and affects that shape the energetic relay between subjects and objects,, an intensity --that--> pressures us --feel--> our cohabitation --in--> a sensible environment --that--> opens outward (=/= simulation of our sensorys or nervous systems) ==> subject is *involved* into the sensuousness of being : *excitation of affect and desire within a sensuous environment ==generate==> substance of self*
•percepts oringinating in environmental harmonization

tranimals invoke the social, affective, sensorial response-abilities of becoming and eating [<-- Hayward's affirmative poetics of trans- --✕--> Stewart's much more complex pattern of description]

-my art work has been more about intensity + techne (= baroque?), than aesthetics ==> ([{when i make images} sharing] our) subjugation to sensation


( sensibility [ ... ) sensuousness ]
                 |
affect <--  sensation --> affect
   affect          affect
          affect affect   affect
        affect      ::{~body~}::


sensation --distribute--> affects & percepts (across bodies)

excitation (unleashes bodily organization at the site of contact) = zone of an *expressed threshold* =/= zone of contact


multispecies materialities --Grosz--> life folds over itself to embrace its contact with materiality


rabbit mammalizes light
glow: a dynamizing force ==> making matter more


Hayward: through [Alba's] glow, her artfulness, we are reminded that species are not just relationships, nor are species ever directly in relationship with other species, we are resonances and dissonances of intensification, energetic cadences of one another--a sensorial ensemble [<-- what marketing would say about this?]


space between scientific experimentation (biocultural) & domestic cohabitation (composition #Cinderella, pet) --evoke--> invisible labour of jellyfish, research on the proliferation and patterns of cancer cells and the sensation of somalumenality [Hayward's Alba]


(Anker > Hayward:) the chimera must be understood in a social context: these beasts have always reflected the social, scientific and religious circumstances <-- my project in zoological vandalism


(Hayward's neologism --> posthumanist repositioning of visuality) carnophallogocentric visual appetite
...glow (intensifying vision) drifts through the bodies of consumers

eating (ingesting and killing of) jellyfish usually takes the form of dried crisps sprinkled into salads and Chinese food



Cinderella's techne --> companion
Crusoe's techne --> human

-fictional kitchen where Cinderella works (and is not a master of)

[learning from] Cinderella (her room has been undone and remade by cohabitation with birds, mice, evil mother --> changing the self and adapting) ==> ontology: a practice of co-constitutive awareness


Alba --engineered--> to glow
pig --engineered--> to become sausage

...................................

Seymour
bad affect
(bad environmentalism's) respond to mainstream environmentalism + questioning its broader ideals of nature
=/= conventional environmental affect

both identify & respond to the aforementioned absurdities and ironies, through absurdity and irony + related affects and sensibilities:
•irreverence بى ادبى
•ambivalence
•camp
•frivolity هرزه
•indecorum بى نزاکتى
•awkwardness
•sardonicism زهر خنده
•perversity
•playfulness
•glee شاد شاد

affects and sensibilities typically associated with environmentalism:
•gloom
•doom
•guilt
•shame
•didacticism
•prescriptiveness
•sentimentality احساساتى
•reverence حرمت
•seriousness
•sincerity
•earnestness
•sanctimony تقدس
•self-righteousness
•wonder

assumptions:
•that reverence is required for ethical relations to the nonhuman
•that knowledge is key to fighting problems like climate change


...................................

__al __ : __ affects and matter of __
(sensational X : Y affects and the matter of Z)

ocularcentric selves

(Hayward's) jellyfish: prismatically, their kinesthetic bling is registered visually and haptically, which draws our attention to the construction of their enclosure

expressively dense
rendered literal and material
light is of this world

to think diffractively = to apprehend a critical difference within

(the formation of a word from a sound associated with what is named -->) onomatopoetic: designed around the sensation of water

Hayward is drawn (to the Monterey Bay aquarium) ==> trying to sort out the poetics of their display
[they] furnish a simulation of the real thing, soliciting the sensation of unmediated encounter with marine worlds, they *act as sites of ecological hope* --Acampora--> *zooscopic: a totalizing view that conceals meaningful human-animal encounters at the price of reinvigorating anthropocentrism {=/=? zoological vandalism --> what would be an animal social media?}
[in zooscopic experience:] the very structure of the human-animal encounter is disrupted, and the interaction that is sought (encountering the animal) becomes impossibility as the “real” animals disappear and the conditions for seeings are undermined [<-- how telegram does that? if telegram animal media is zooscopic, then i say that is good for Tehran, for the “real” encounters are violent. the idea of “truely seeing animal” is metaphysics]

captivity ==> animal against themselves, “animal = qualified noun, adjectival” [=/= *ajayeb's wilderness* was articulated in a time before the modern zoo]
--Acampora--> zone of species contact mediated by an interruption that voids actual encounter
--✕--> Sina: there has never been an “actual encounter”
--✕--> Hayward: does face-to-face “seeing” matter for organisms of a radically different scale and for whom “eyes” are light receptors rather than picture makers?

-how can we see mediation as a dynamic of encounter, even an ethical one?
(captivity is always mediated)


captivity diffracted


*(telegram's) [*]encounter: sensuous rapport or energetic cadence*


aquariums engage a story of looking + deep roots in imperialism and the process of nation building --> aquarium: a stage of an unspoiled garden in nature, بوته hearth for learning human self from animal other + (clarification of) ontological and epistemological disorders of nature and culture [=/= Tsing's contaminated landscapes]
-18th century: the ocean was taboo, a place of great fear, a cursed world full of monsters lurking in shadowy fathoms, (waters: low and deep =/= air: domain of morality and aspiration, closer to heaven)
-19th century europe victorian glass *aqua vivarium* --> windows that interfaced between human sight and subaqueous scenes (the unknown provoked feelings of bot curiosity and apprehension)--Stott--> for the naturalist the marine or freshwater aquarium provided a constantly changing, glass-fronted theater of bizarre and exotic bodies, moving, metamorphosing, interacting and breeding in sensational ways
-aquariums became sacred spaces where cohabited forces of godliness and nature were contained, compartmentalized, and studied --> animal = metonymic of particularly nonhuman environments --> victorian sensibilities

(Darwinan trope...) monstrously minute, potent and parasitic, characterized by missing body parts

efforts to know, classify, and conquer the oceanic (--> capture for visual pleasure) ==> counter-conquest of the home by monsters and sexual deviants

the most prized organisms were “exotics” from non-european environments that fueled ongoing colonialism in the mode of animal husbandry


Hayward:
differences in display technologies
variations in viewer experience and perception
alterations in cross-species encounters
aquarium's promise of immediacy(?)

the rhetoric of animal domination is not the only discourse at work (in aquarium display, telegram, in ajayeb, in zoo, etc.)

Hayward's attention to the expressiveness of sensation, display technologies, and the animals themselves =/=? my attention to telegram animal media

(modern) aquarium: turning toward the monstrous oceanic but updated for a technoscientific postmodernity and anticipating a sci-fi futurity


exhibits as idealizations
the aquarium visitor is entertained into caring about environmental ethics and marine biology. enacting a moral imperative to protect local ecosystems, the aquarium is a savoir --> the parochial becomes the new cosmopolitan

technology + artistry + biology

playing with scale, volume, space
refractive technology:
•produces the visceral and optical experience of immersion...
•makes us profoundly aware of our bodies in space
•producing a disorienting visuality
*refracted vision = textured light*

refraction = corporal جسمى + carnal (جسمانى marked by the appetites and passions of the body) ==> effective stimulation


osmotic space
amniotic
eroded
bad boundaries
concretions
immersive medusa or jellies transducingly
snaky tresses of the mythical gorgon
more-ness of sensation
destroyed, transformed, conserved

jelly scatters
diffracting cilia and fluible mesoglea
metamorphosing diffraction patterns


multiple sensory registers temper the apparatus of seeing: sound, tactility, movement, proximity

immersion ==convey==> the experience of being totally inside a world, a state of mind, cultural and historical forms, and intellectual rumination =/= unreality or reality
==> cohabitation =/= representation

tactile visuality
fingery eyes
relies on textured proximity rather than objective distance
the visual apparatus is the touching body

[*]art: sensual movement of perceptual information (across media and bodies)

transduction:
(at an energetic transduction site: one form of organized energy asymmetrically converted into another kind of energy)
•transmission of messages through various media and the ways those messages become mis/translated into sense and sensation
•transmitted information reformatted and transformed through devices, forces, and processes, and then broadcast to other sensorial subjects... (---> go to my ajayeb-e pit story)


#telegram's zoological corruption =/= State, science


matter owes a debt to its own means of revelation: light

(Hayward's) [*]captivation: extraction of rhythm, pulse, color, texture ==> resonate for alternative purposes buth within the conditions of the frame

the (zoo's or aquarium's) display: motabolizes, creates, releases sensation into the world ==> environment of intense involvement --> familiar orderings are affectively transposed, altered, refigured

jellies --> surrealist white shapes

i am not sure -->
(Desmond's) identification: the beautification of ‘drifters'[spending most of their time motionless with their tentacles extended over ten feet, netting the waters for food] makes cross-species identification impossible --> [*]identification: seeing familiarity in other organisms = a map for empathy and critical engagement* (=/= objectification of radically different organisms) : “transmutation of non-identification into aestheticization” ==> observer gawks بى خيال نگاه کردن and marvels at dissimilarity ==> making difference a marketable feature [--> ajayeb stuff]
=/= Hayward --> [*]identification: misalignment of empathy with the possibility of familiarity --relying-on--> extending empathy across similarity to dissimilarity : *the organism can only receive the benefits of empathy if we can identify with it* (=/= Seymour's wildboyz)

politics of erasure =/= empathy

telegram ajayeb channel =/= idealized visual pathways (save, preserve, conserve vanishing wildlife, while ignoring the idealization of nature)

aquarium (as boundary object) ==> borders of nature and culture (that functions as public spectacle, public enlightenment, and conquest) =/= telegram

-if not the ‘oppressed other’ then what kind of actor is ‘you,’ ‘them,’ or ‘me’?

Ponyo --> low-oxygen environment in which fish die but jellies thrive


distracting --> diffracted ethics --Haraway--> (as a metaphor to talk about) history of interaction, interference, reinforcement, difference =/= reflection or reflexivity: displacing the same elsewhere (in traditions of representation, searching for the authentic really real)
*diffraction: (depending on the phase differences and the amplitude of the light waves) elements of composite light (white light) are reinforced, weakened, or eliminated by each other alternately*
•scales of butterfly wings and fishes...
•modification of the form of a word to express the different grammatical relations into which it may enter
•to put concerns, entities, relationships, and actions into process [-to put your found object into process of interference]
•[*]diffraction: mapping of interference ==Haraway==> where the *effects of* differences appear =/= differences appear

meaning + matter + action (always live together)

telegram animal carousel: nonhuman-animal-machine

my room/bedroom (~-> Cinderella's attic, architecture of containment)
overlapping perceptual worlds
synaesthetic force of perceiving and feeling, processing and mattering --> transposing of senses
immersion
kinesthesia
numerous haptic registers
we are transsensual

[*]sensation: the vibratory force in all organisms that seduces, sexulizes, entices, and mesmerizes the body

vibrate
oscillate
wave

aquarium ==> new sensations: deep-sea drifting and shimmering for upright opaque hominids --> that are sent further adrift through experience in yet unknown expressions


[*]ecology: ambivalent powerful elusive ways of composing through histories of interation, relationality, interconnection, and materiality

relational matter =/= matter of who has agency

Hayward's [and my] attention and sensuous reach are solicited by the ctenophores in the display, a display that instrumentalizes the jellies diffracting cilia and solicits my senses

-jellies participation in worldhood (further becomings)?
immersed in deep marine technoscience worlds...

...................................

Marx: human begin to distinguish themselves from animals as soon as they begin to produce their means of subsistence ==> they produce their actual material life
--Haraway--> Marx understood relational sensuousness, and he thought deeply about the metabolism between human beings and the rest of the world enacted in living labor --> the humanist teleology of that labor: making of man himself

horses
oxen
police dogs
rescue dogs
messenger pigeons

Despret > Ridout

(theological critical roots of theater:) before tragedy is its infancy [infans: the condition of those who are without language]
the division of labor, the death of god, the establishment of human dominion over the animals, the birth of tragedy may all be seen as simultaneous(?)
--> animals off stage in western theatre, to hide its origins in these moments of *inaugural violence* + the institution of division of labor

what was the animal doing on stage before the birth of tragedy?

mythical origin ==create==> stories (fabulous, fabulating): [storytelling: seeking for] means of making a vanished experience available again in the contemporary world (~ storytelling) ~/= *storymaking: creation of memories, the construction of a history that renders the present and the future richer in possibilities* [not just for your self and your kind, as Hollywood or the brands do it: personalize experiences at scale]

animals do not appear to work, in the referential framework that emerges from the division of labor / exclusion from labor [the idea of animals have been transformed into “potential instruments of satisfaction"] --> it is held that what animals do, they do it “naturally” : as if answering our needs is the same thing as *acting according to nature* [---> go to cooking manga anime Shokugeki no Soma, the nature of serving]
--Despret--> division of labor: a matter of dividing: those who explicitly really work =/= those who are only following a bent in their nature (a necessity of a biological rather than a historical sort)


Baratay --> possibility of writing a history from the animal's point of view
+ epistemic, conceptual, ideological obstacles

when the animals start paying attention to what humans are offering ir demanding, and then either accept, play for time, resist, refuse... stories in which they exhibit unusual skills or behaviours = acculturation: acceptance from the animal (not just humans imposing their will), dialogue between the two, influence of the animal upon the human


(thinking about animals that we raise in order to kill and eat them)
asking breeders: could one in any way way that their animals collaborate with them and work with them?
•the immediate general response is: no --✕--> yet you hear many stories about animals who did in fact participate in the work of those who were raising them : they acted in deliberate ways of their own volition

-do animals work?
the answer to this question will change something --> (Despret's pragmatism) *pragmatic position = involving a question whose answer turns out to have consequences*


(Porcher > Tapper:) relationships between human and nonhuman animals (judging that this relationship must have followed a historical progression similar to that undergone by the relations of production between different groups of men):
1. hunting societies --> communitarian, animals are part of the same world as humans
2. domestication --> slavery
3. pastoralism --> contractual forms of the feudal type
4. industrial societies --> relationships based on means of production and capitalist relationships

Tapper (and Castelluci) raise the possibility that animals may indeed work, they also close these relationships up in a *single schema* of ownership and exploitation


to inherit: (not merely receptive,) implies a task, a pragmatic act = appropriation

**one's heritage is something constructed, and it is constantly transforming itself retroactively** بازگشتی --> it makes us capable of responding and that we in fact respond to our heritage =/= simply carrying on a tradition

***things are inherited, but we become ourselves in carrying out the gesture of inheriting***

(Harawayian) re-member: enact the past, collect and compose ~/= (Despretian) to inherit: giving oneself an account of a certain task, which is more than just remembering
[storymaking] *to make a story = to reconstruct, to fabulate, to offer other presents and futures to the past* [~/= Sina: to fabulate = to give other pasts to the present and future]


how to ask the question of work properly?
you have to consider animals as other than victims, natural and cultural idiots that *need to be liberated* despite themselves --> ‘liberating the world of animals' = 'freeing the human world of the presence of animals’ [---> go to fabulation of animal human in the movie How to Train Your Dragon: The Hidden World]
=/= telegram's animals

*humans and animals must (not just considered together but) always be imagined together*

ceasing to consider “animal = victim” ==> (?how in telegram media) animals involve themselves (since they are not natural and cultural idiots), just as human (breeders) are not “exploiting,” but giving, receiving, exchanging, raising, and growing with, their animals


when Despret is putting the question of “do animals work?” to breeders, it is a real experiment : to explore the researcher's propositions with the breeders --> to make them hesitate (~ is about *what does it mean to speculate in such a way?*) [=/= means of knowing through information (to gather data or opinions) : “what do breeders think of X?"]


Despret’ amazing rigour --> the only place that the question (considering whether animals do work) can be brought forward is the place where only the meaning associated with exploitation can matter (in places where both humans and animals are greatly mistreated)
-place where the evidence of such work is found, are places where animals are industrially “produced” --> their behaviours appear very definitely as belonging to a work relationship


director of animal resources --> (in such frame) animal: occupy the place of an obscure underclass, malleable, serviceable, and disposable in the end

moder feeder operations --Porcher--> animals sometimes wanted to help

asking the breeders: could you help us learn how to ask our question so that it has a chance of making sense to other people? ==> they also could explore the *manner in which we were obligated to formulate our questions*


(Harawayiean) responsibility: a relationship crafted into intra-action through which entities, subjects, and objects, come into being

lead cow (the one who trusts the breeder, and one the herd trusts, usually is in the front) =/= dominant cow (in the hierarchy of the herd, is found in the middle of the herd)

a theme in animal technicians
paying attention to animals = being able to feel the limits that animals ask us to take into account (more than questions of well-being)


[many times] *work often leaves no evidence behind* (=/= publishing)
@apass


ethology ==teaches==> certain questions cannot be answered unless one constructs concrete conditions beforehand --> those that allow the questions to be asked + those that render those who ask capable of discerning the answer, capable of grasping it when it emerges

peace-maintaining gestures of the cows

why the work of the cows was invisible?
*because work only becomes perceptible when the cows resist* (when they place limit on what can happen) --shows--> when everything goes correctly it is because of an active investment on the part of the cows
***when everything happens as it should, we don't see the work*** (=/= notion of work in art)
@apass

(when they do what has to be done in response to an order, cow's) obedience looks “mechanical” (~/=? Cinderella's obedience [?not in a mechanical age])
[=/= art's work <== conflict that disturb this order of things]

(the fieldwork of Despret helping me to realize that) *the moments without conflict* are not something merely natural, self-evident, or mechanical --> they require from the cows (or someone whose work is invisible) the activity of pacification, in which they make compromises (groom each other, exchange gestures of politeness, etc.)
•dogs and horses who are asked to serve as therapeutic assistants for humans: these animals often have a passive air and seem to simply be letting things happen --> *their cooperation is based on a remarkable ability to hold themselves back* [<-- i saw this, in a theater piece for blind, i was sitting next to two assistant dogs, and could feel strongly their efforts to sit motionless in the dark within the crowds] ~~--> but non of this is perceived...

only by observing the many ways that cows can resist the breeders, doing something other than what is expected of them ==> the researcher could see how they are actively invested in the work : when the cows show that they are unwilling to do what is wanted ==> their “good will” appeared (the effect of their willingness)
•this is an interested problem @apass, the notion of asking participants to participate in an “active” way =/= animal work }--> “working well for an artist = violating normative organization (recommendations, regulations, procedures, codes, specifications)" = تمرد tamarod recalcitrance: practical or collective intelligence appearing when intentional mistakes are made, or when feigned misunderstanding leads to active disobedience*****


Vicki Hearne + Despret
why dogs often drop the stick they fetch a couple of feet in front of you. it is a way for the dog to give to the human a sense of the limits to the authority that she is ready to concede, with an almost mathematical precision, reminding us that not everything goes without saying ♥


‘communication with animals = being together engaged in work’ :
•learning patience in regard to them
•respecting them as they are ==imply==> you know them & recognise them
•

@Leo

we are required to think about people and animals as **connected in a single experience** (in which they jointly constitute their identities) #chimera
==> (obligates us to consider) the manner in which they keep faith with each other --> they respond to each other through the consequences of their action & their responses are part of the consequences (=/= act based on shared assumptions)

{being a victim ==imply==> passivity + all its consequences}--> *animal is not a victim* [because:]
•saying “animal = victim” =/= (Despret's) mode of being engaged in question
•(don't forget that) ***تقصیرپذیری culpability is easier to tolerate than responsiblity مسئولیتپذیری*** (because responsibility prevents the question from being closed)
•***a victim does not invite curiosity*** <-- curiosity is essential in relations in which two beings learn to look and to look back (Despret + Haraway)

victim =/= (Despret’ animal, Sina's Cinderella) more alive, more present, they invite more question --> they get the chance to become interesting
•a Cinderella who does her job engages us in a totally different manner than a Cinderella who is the victim of the authority of her evil mother and wicked sisters


(from a clinical standpoint + in human terms) [*]work: gestures, know-how, the involvement of the body and the intelligence, the ability to analyze, interpret and react to situations:
•work transforms the world
•work objectifies intelligence
•work produces subjectivity

work, not only has to do with economic rationality, but participate in other forms of rationality, in relation to:
•identities
•in relationship to God
•obligation and cures
•obedience to Nature or mastering it
•moral rationality --> (Marx's) work: definitve form of expressing their life (a mode of life, Dejours: assertion of their existence)

‘work = a source of recognition’ ==> work =
•a source of pleasure
•a practice in the construction of our identities
•a judgment about beauty (of something being well done that *relies upon the recognition of one's peers* --> this is something i realized in apass) ==> judgment about *bond* (that concerns) the means of the work's doing [and pl[...]