[...]nvoke the ="trms">social, ="trms">affective, sensorial ="trms">response-abilities of becoming and eating ='lgc'>[='lgc'><='lgc'>-- ="ppl">="ppl">Hayward's affirmative ="trms">poetics of trans- ='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">="ppl">Stewart's much more complex pattern of description='lgc'>]

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


( sensibility ='lgc'>[ ... ) ="trms">sensuousness ='lgc'>]
                 |
="trms">affect ='lgc'><='lgc'>--  sensation ='lgc'>='lgc'>--> ="trms">affect
   ="trms">affect          ="trms">affect
          ="trms">affect ="trms">affect   ="trms">affect
        ="trms">affect      ::='lgc'>{='lgc'>~body='lgc'>~='lgc'>}:='lgc'>:


sensation ='lgc'>--distribute='lgc'>='lgc'>--> ="trms">affects ='and'>& percepts (across bodies)

="large lg2" stl="font-size:110%"> ex="trms">citation (unleashes bodily organization at the site of contact)='lgc'> = zone of an ='strcls'>*expressed threshold='strcls'>* ='lgc'>=/= zone of contact


multi="trms">species ="trms">materialities ='lgc'>--="ppl">Grosz='lgc'>='lgc'>--> life ="trms">folds over itself to embrace its contact with ="trms">materiality


rabbit mammalizes light
glow='lgc'>: a dynamizing force ='lgc'>==> making ="trms">matter more


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


space between ="trms">scientific experimentation (biocultural) ='and'>& domestic cohabitation (com="trms">position ='at'>#="nms">Cinderella, pet) ='lgc'>--evoke='lgc'>='lgc'>--> invisible labour of jellyfish, research on the proliferation and patterns of cancer cells and the sensation of somalumenality ='lgc'>[="ppl">="ppl">Hayward's Alba='lgc'>]


="large lg1" stl="font-size:139%"> (Anker > ="ppl">="ppl">Hayward='lgc'>:) the ="trms">chimera must be understood in a ="trms">social context='lgc'>: these ="trms">beasts have always reflected the ="trms">social, ="trms">scientific and ="trms">religious circumstances ='lgc'><='lgc'>-- my project in ="trms">zoological vandalism


(="ppl">="ppl">Hayward's neologism ='lgc'>='lgc'>--> posthumanist re="trms">positioning of visuality) carnophallogocentric visual appetite
...glow (intensifying vision) drifts through the bodies of ="trms">consumers

eating (in="trms">gesting and killing of) jellyfish usually takes the form of dried crisps sprinkled into salads and Chinese food



="nms">Cinderella's ="trms">techne ='lgc'>='lgc'>--> companion
Crusoe's ="trms">techne ='lgc'>='lgc'>--> human

="prgrph">-="trms">fictional kitchen where ="nms">Cinderella works (and is not a master of)

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


Alba ='lgc'>--engineered='lgc'>='lgc'>--> to glow
pig ='lgc'>--engineered='lgc'>='lgc'>--> to become sausage

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

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

both identify ='and'>& ="trms">respond to the aforementioned absurdities and ironies, through absurdity and irony ='lgc'>+ related ="trms">affects and sensibilities='lgc'>:
="lsts lst1">•irreverence بى ادبى
="lsts lst1">•ambivalence
="lsts lst1">•camp
="lsts lst1">•frivolity هرزه
="lsts lst1">•indecorum بى نزاکتى
="lsts lst1">•awkwardness
="lsts lst1">•sardonicism زهر خنده
="lsts lst1">•="trms">perversity
="lsts lst1">•playfulness
="lsts lst1">•glee شاد شاد

="trms">affects and sensibilities typically as="trms">sociated with environmentalism='lgc'>:
="lsts lst1">•gloom
="lsts lst1">•doom
="lsts lst1">•guilt
="lsts lst1">•shame
="lsts lst1">•didacticism
="lsts lst1">•prescriptiveness
="lsts lst1">•sentimentality احساساتى
="lsts lst1">•reverence حرمت
="lsts lst1">•="trms">seriousness
="lsts lst1">•sincerity
="lsts lst1">•earnestness
="lsts lst1">•sanctimony تقدس
="lsts lst1">•self-="trms"nttrm="righ,rigo,riga,rigi,trig,rign">righteousness
="lsts lst1">•="trms">wonder

assumptions='lgc'>:
="lsts lst1">•that reverence is required for ethical ="trms">relations to the nonhuman
="lsts lst1">•that knowl="trms"nttrm="knowledge,Knowledge">edge is key to fighting problems like climate change


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

__al __ ='lgc'>: __ ="trms">affects and ="trms">matter of __
(sensational X ='lgc'>: Y ="trms">affects and the ="trms">matter of Z)

ocularcentric selves

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

expressively ="trms">dense
rendered ="trms">literal and ="trms">material
light is of this ="trms">world

to think diffractively='lgc'> = to apprehend a critical ="trms">difference within

(the formation of a word from a sound as="trms">sociated with what is named ='lgc'>='lgc'>-->) onomato="trms">poetic='lgc'>: designed around the sensation of water

="ppl">="ppl">Hayward is drawn (to the Monterey Bay aquarium) ='lgc'>==> trying to ="trms">sort out the ="trms">poetics of their display
='lgc'>[they='lgc'>] furnish a simulation of the real thing, soliciting the sensation of unmediated encounter with marine ="trms">worlds, they ='strcls'>*act as sites of ="trms">ecological hope='strcls'>* ='lgc'>--Acampora='lgc'>='lgc'>--> ='strcls'>*="trms">zooscopic='lgc'>: a totalizing view that conceals meaningful human-='trgt hghlght 1'href='?q=animal'>animal encounters at the price of reinvigorating ="trms">anthropocentrism ='lgc'>{='lgc'>=/=='qstn'>? ="trms">zoological vandalism ='lgc'>='lgc'>--> what would be an ='trgt hghlght 1'href='?q=animal'>animal ="trms">social media='qstn'>?='lgc'>}
='lgc'>[in ="trms">zooscopic experience:='lgc'>] the very structure of the human-='trgt hghlght 1'href='?q=animal'>animal encounter is disrupted, and the ="trms">interaction that is sought (encountering the ='trgt hghlght 1'href='?q=animal'>animal) becomes impossibility as the “real” ='trgt hghlght 1'href='?q=animal'>animals disappear and the conditions for seeings are undermined ='lgc'>[='lgc'><='lgc'>-- how telegram does that='qstn'>? if telegram ='trgt hghlght 1'href='?q=animal'>animal media is ="trms">zooscopic, then i say that is good for ="nms">Tehran, for the “real” encounters are violent. ='thdf'>the idea of “truely seeing ='trgt hghlght 1'href='?q=animal'>animal” is ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='lgc'>]

captivity ='lgc'>==> ='trgt hghlght 1'href='?q=animal'>animal against themselves, “='trgt hghlght 1'href='?q=animal'>animal='lgc'> = qualified noun, adjectival” ='lgc'>[='lgc'>=/= ='strcls'>*="nms">ajayeb's ="trms">wilderness='strcls'>* was ="trms">articulated in a time before the ="trms">modern ="trms">zoo='lgc'>]
='lgc'>--Acampora='lgc'>='lgc'>--> zone of ="trms">species contact mediated by an ="trms">interruption that voids actual encounter
='lgc'>--='not'>✕='lgc'>='lgc'>--> ="frds">Sina='lgc'>: there has never been an “actual encounter”
='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">="ppl">Hayward='lgc'>: does face-to-face “seeing” ="trms">matter for organisms of a radically ="trms">different scale and for whom “eyes” are light receptors rather than picture makers='qstn'>?

="prgrph">-how can we see mediation as a dynamic of encounter, even an ethical one='qstn'>?
(captivity is always mediated)


captivity diffracted


='strcls'>*(telegram's) ='lgc'>[='strcls'>*='lgc'>]encounter='lgc'>: ="trms">sensuous rapport or energetic cadence='strcls'>*


aquariums engage a ="trms">story of looking ='lgc'>+ deep roots in imperialism and the process of nation building ='lgc'>='lgc'>--> aquarium='lgc'>: a ="trms">stage of an unspoiled garden in ="trms">nature, بوته hearth for learning human self from ='trgt hghlght 1'href='?q=animal'>animal other ='lgc'>+ (clarification of) ="trms">ontological and ="trms">epistemological disorders of ="trms">nature and culture ='lgc'>[='lgc'>=/= ="ppl">Tsing's contaminated landscapes='lgc'>]
="prgrph">-18th century='lgc'>: the ocean was taboo, a place of great fear, a cursed ="trms">world full of ="trms">monsters ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurking in shadowy fathoms, (waters='lgc'>: low and deep ='lgc'>=/= air='lgc'>: domain of morality and aspiration, closer to heaven)
="prgrph">-19th century europe victorian glass ='strcls'>*aqua vivarium='strcls'>* ='lgc'>='lgc'>--> windows that ="trms">interfaced between human sight and subaqueous s="trms">cenes (the unknown provoked feelings of bot curiosity and apprehension)='lgc'>--Stott='lgc'>='lgc'>--> for the ="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list the marine or freshwater aquarium provided a constantly changing, glass-fronted theater of bizarre and exotic bodies, moving, ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosing, ="trms">interacting and breeding in sensational ways
="prgrph">-aquariums became sacred spaces where cohabited forces of godliness and ="trms">nature were contained, compartmentalized, and studied ='lgc'>='lgc'>--> ='trgt hghlght 1'href='?q=animal'>animal='lgc'> = metonymic of particularly nonhuman environments ='lgc'>='lgc'>--> victorian sensibilities

="large lg3" stl="font-size:112%"> (="ppl">Darwinan ="trms">trope...) ="trms">monstrously minute, potent and parasitic, characterized by missing body parts

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

the most prized organisms were “exotics” from non-european environments that fueled ongoing colonialism in the mode of ='trgt hghlght 1'href='?q=animal'>animal husbandry


="large lg4" stl="font-size:110%"> ="ppl">="ppl">Hayward='lgc'>:
="trms">differences in display ="trms">technologies
variations in viewer experience and perception
alterations in cross-="trms">species encounters
aquarium's promise of immediacy(='qstn'>?)

the ="trms">rhetoric of ='trgt hghlght 1'href='?q=animal'>animal domination is not the only discourse at work (in aquarium display, telegram, in ="nms">ajayeb, in ="trms">zoo, etc.)

="ppl">="ppl">Hayward's attention to the expressiveness of sensation, display ="trms">technologies, and the ='trgt hghlght 1'href='?q=animal'>animals themselves ='lgc'>=/=='qstn'>? my attention to telegram ='trgt hghlght 1'href='?q=animal'>animal media

(="trms">modern) aquarium='lgc'>: turning toward the ="trms">monstrous oceanic but updated for a ="trms">techno="trms">scientific post="trms">modernity and anticipating a sci-fi futurity


="large lg5" stl="font-size:164%"> exhibits as idealizations
the aquarium visitor is entertained into caring about environmental ethics and marine biology. enacting a moral imperative to protect local eco="trms">systems, the aquarium is a savoir ='lgc'>='lgc'>--> the parochial becomes the new ="trms">cosmopolitan

="trms">technology ='lgc'>+ ar[...]