[...]roximity rather than objective distance
the visual ="trms">apparatus is the touching body

='lgc'>[='strcls'>*='lgc'>]art='lgc'>: ="trms">sensual movement of perceptual information (across media and bodies)

transduction='lgc'>:
(at an energetic transduction site='lgc'>: one form of organized energy a="trms">symmetrically converted into another kind of energy)
="lsts lst1">•trans="trms">mission of messages through various media and the ways those messages become mis/="trms">translated into sense and sensation
="lsts lst1">•transmitted information reformatted and transformed through devices, forces, and processes, and then broadcast to other sensorial subjects... (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to my ="nms">ajayeb-e pit ="trms">story)


='at'>#telegram's ="trms">zoological corruption ='lgc'>=/= State, ="trms">science


="large lg2" stl="font-size:112%"> ="trms">matter owes a debt to its own means of revelation='lgc'>: light

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

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

jellies ='lgc'>='lgc'>--> surrea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list white shapes

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

politics of erasure ='lgc'>=/= empathy

="large lg1" stl="font-size:148%"> telegram ="nms">ajayeb channel ='lgc'>=/= idealized visual pathways (save, preserve, conserve vanishing ="trms">wildlife, while ignoring the idealization of ="trms">nature)

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

="prgrph">-if not the ‘oppressed other’ then what kind of actor is ‘you,’ ‘them,’ or ‘me’='qstn'>?

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


distracting ='lgc'>='lgc'>--> diffracted ethics ='lgc'>--="ppl">="ppl">Haraway='lgc'>='lgc'>--> (as a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor to talk about) ="trms">history of ="trms">interaction, ="trms">interference, reinforcement, ="trms">difference ='lgc'>=/= reflection or reflexivity='lgc'>: displacing the same elsewhere (in traditions of re="trms">presentation, searching for the authentic really real)
='strcls'>*diffraction='lgc'>: (depending on the phase ="trms">differences and the amplitude of the light waves) elements of com="trms">posite light (white light) are reinforced, weakened, or eliminated by each other alternately='strcls'>*
="lsts lst1">•scales of butterfly wings and fishes...
="lsts lst1">•modification of the form of a word to express the ="trms">different grammatical ="trms">relations into which it may enter
="lsts lst1">•to put concerns, entities, ="trms">relationships, and actions into process ='lgc'>[-to put your found object into process of ="trms">interference='lgc'>]
="lsts lst1">•='lgc'>[='strcls'>*='lgc'>]diffraction='lgc'>: mapping of ="trms">interference ='lgc'>==="ppl">="ppl">Haraway='lgc'>='lgc'>==> where the ='strcls'>*effects of='strcls'>* ="trms">differences appear ='lgc'>=/= ="trms">differences appear

meaning ='lgc'>+ ="trms">matter ='lgc'>+ action (always live together)

telegram ='trgt hghlght 1'href='?q=animal'>animal carousel='lgc'>: nonhuman-='trgt hghlght 1'href='?q=animal'>animal-machine

my room/bedroom (='lgc'>='lgc'>~-> ="nms">Cinderella's attic, architecture of containment)
overlapping perceptual ="trms">worlds
syn="trms">aesthetic force of perceiving and feeling, processing and ="trms">mattering ='lgc'>='lgc'>--> transposing of senses
immersion
kinesthesia
numerous haptic registers
we are trans="trms">sensual

='lgc'>[='strcls'>*='lgc'>]sensation='lgc'>: the vibratory force in all organisms that seduces, sexulizes, entices, and mesmerizes the body

vibrate
oscillate
wave

aquarium ='lgc'>='lgc'>==> new sensations='lgc'>: deep-sea drifting and shimmering for up="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right opaque hominids ='lgc'>='lgc'>--> that are sent further adrift through experience in yet unknown expressions


='lgc'>[='strcls'>*='lgc'>]="trms">ecology='lgc'>: ambivalent powerful elusive ways of ="trms">composing through ="trms">histories of ="trms">interation, ="trms">relationality, ="trms">interconnection, and ="trms">materiality

="trms">relational ="trms">matter ='lgc'>=/= ="trms">matter of who has ="trms">agency

="ppl">="ppl">Hayward's ='lgc'>[and my='lgc'>] attention and ="trms">sensuous reach are soli="trms">cited by the ctenophores in the display, a display that ="trms">instrumentalizes the jellies diffracting cilia and solicits my senses

="prgrph">-jellies participation in ="trms">worldhood (further becomings)='qstn'>?
immersed in deep marine ="trms">techno="trms">science ="trms">worlds...

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

="ppl">Marx='lgc'>: human begin to distinguish themselves from ='trgt hghlght 1'href='?q=animal'>animals as soon as they begin to produce their means of subsistence ='lgc'>='lgc'>==> they produce their actual ="trms">material life
='lgc'>--="ppl">="ppl">Haraway='lgc'>='lgc'>--> ="ppl">Marx understood ="trms">relational ="trms">sensuousness, and he thought deeply about the ="trms"nttrm="metaph,metamorph,metabol,metal">metabolism between human beings and the rest of the ="trms">world enacted in living labor ='lgc'>='lgc'>--> the humanist teleology of that labor='lgc'>: making of man himself

horses
oxen
police dogs
rescue dogs
messenger pigeons

="ppl">="ppl">Despret > Ridout

(theological critical roots of theater='lgc'>:) before tragedy is its infancy ='lgc'>[infans='lgc'>: the condition of those who are without ="trms">language='lgc'>]
the division of labor, the death of god, the establishment of human dominion over the ='trgt hghlght 1'href='?q=animal'>animals, the birth of tragedy may all be seen as ="trms">simultaneous(='qstn'>?)
='lgc'>='lgc'>--> ='trgt hghlght 1'href='?q=animal'>animals off ="trms">stage in western theatre, to hide its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins in these moments of ='strcls'>*inaugural violence='strcls'>* ='lgc'>+ the institution of division of labor

what was the ='trgt hghlght 1'href='?q=animal'>animal doing on ="trms">stage before the birth of tragedy='qstn'>?

="large lg3" stl="font-size:111%"> mythical o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>==create='lgc'>='lgc'>==> ="trms">stories (="trms">fabulous, ="trms">fabulating)='lgc'>: ='lgc'>[="trms">storytelling='lgc'>: seeking for='lgc'>] means of making a vanished experience available again in the contemporary ="trms">world (='lgc'>~ ="trms">storytelling) ='lgc'>='lgc'>~/= ='strcls'>*="trms">storymaking='lgc'>: creation of ="trms">memories, the construction of a ="trms">history that renders the ="trms">present and the future richer in possibilities='strcls'>* ='lgc'>[not just for your self and your kind, as Hollywood or the brands do it='lgc'>: personalize experiences at scale='lgc'>]

='trgt hghlght 1'href='?q=animal'>animals do not appear to work, in the referential framework that emerges from the division of labor / ex="trms">="trms"nttrm="cluster,club">clusion from labor ='lgc'>[='thdf'>the idea of ='trgt hghlght 1'href='?q=animal'>animals have been transformed into “potential ="trms">instruments of satisfaction"='lgc'>] ='lgc'>='lgc'>--> it is held that what ='trgt hghlght 1'href='?q=animal'>animals do, they do it “="trms">naturally” ='lgc'>: as if answering our needs is the same thing as ='strcls'>*acting ="trms">according to ="trms">nature='strcls'>* ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to cooking manga anime Shokugeki no Soma, the ="trms">nature of serving='lgc'>]
='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> division of labor='lgc'>: a ="trms">matter of dividing='lgc'>: those who explicitly really work ='lgc'>=/= those who are only following a bent in their ="trms">nature (a necessity of a biological rather than a ="trms">historical ="trms">sort)


Baratay ='lgc'>='lgc'>--> possibility of ="trms">writing a ="trms">history from the ='trgt hghlght 1'href='?q=animal'>animal's point of view
='lgc'>+ ="trms">epistemic, conceptual, ideological obstacles

="large lg4" stl="font-size:112%"> when the ='trgt hghlght 1'href='?q=animal'>animals start paying attention to what humans are offering ir ="trms">demanding, and then either accept, play for time, resist, refuse... ="trms">stories in which they exhibit unusual ="trms">skills or behaviors='lgc'> = acculturation='lgc'>: acceptance from the ='trgt hghlght 1'href='?q=animal'>animal (not just humans imposing their will), dialogue between the two, influence of the ='trgt hghlght 1'href='?q=animal'>animal upon the human


(thinking about ='trgt hghlght 1'href='?q=animal'>animals that we raise in order to kill and eat them)
asking breeders='lgc'>: could one in any way way that their ='trgt hghlght 1'href='?q=animal'>animals collaborate with them and work with them='qstn'>?
="lsts lst1">•the immediate general ="trms">response is='lgc'>: no ='lgc'>--='not'>✕='lgc'>='lgc'>--> yet you hear many ="trms">stories about ='trgt hghlght 1'href='?q=animal'>animals who did in fact participate in the work of those who were raising them ='lgc'>: they acted in deliberate ways of their own volition

="prgrph">-do ='trgt hghlght 1'href='?q=animal'>animals work='qstn'>?
the answer to this ="trms">question will change something ='lgc'>='lgc'>--> (="ppl">="ppl">Despret's ="trms">pragmatism) ='strcls'>*="trms">pragmatic ="trms">position='lgc'> = involving a ="trms">question whose answer turns out to have consequences='strcls'>*


="large lg5" stl="font-size:143%"> (Porcher > Tapper='lgc'>:) ="trms">relationships between human and nonhuman ='trgt hghlght 1'href='?q=animal'>animals (judging that this ="trms">relationship must have followed a ="trms">historical progression similar to that undergone by the ="trms">relations of production between ="trms">different groups of men)='lgc'>:
="lstsrd">1. hunting ="trms">societies ='lgc'>='lgc'>--> ="trms">communitarian, ='trgt hghlght 1'href='?q=animal'>animals are part of the same ="trms">world as humans
="lstsrd">2. domestication ='lgc'>='lgc'>--> slavery
="lstsrd">3. ="trms">pastoralism ='lgc'>='lgc'>--> contractual forms of the feudal type
="lstsrd">4. industrial ="trms">societies ='lgc'>='lgc'>--> ="trms">relationships based on means of production and capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">relationships

Tapper (and Castelluci) raise the possibility that ='trgt hghlght 1'href='?q=animal'>animals ma[...]