[...]*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 the[...]