[...]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 pig[...]