[...]eaning from their point of view***


presence
*if the scientists body is evoked, it is never for itself nor is it named as such --> when seeking the body, we are offered a surprisingly abstract concept: “presence” (under the guise of “presence of the observer”) =/= body
-the presence has no skin, it does not sweat, nor does it eat, sleep, dream, fear --> [*]presence: the perceived body which never acknowledges itself as a body (there is no presence that could be unperceived in one way or in an other) = disembodied body <== *science: the cognitive activity par excellence*
•obliterates the actual presence of the observer --understood--> (in terms of a) convenient and non-problematized split “presence =/= absence”
•(?if these attempts succeed in) reducing the reactivity of the animal to the researcher =/= wildboyz
}--> ‘not having a body' = a mean to preclude (to prevent or to avoid) **the always possible reciprocity of the encounter** [--> aliens are watching us!]
}--> ‘having a body’ discloses and renders perceptible (it is the actual condition of) the very existence of reciprocity of the encounter


how scientists (and artists) construe their presence in the field
*the will to be there without being there*

the problematic “animals react =/= animal don't react”

(also in art -->) ***the regime of distrust of influence*** [--> fable of ‘artist's original interiority']


-*- what does ‘meaningful’ means? -*-

scientists aim to find new methods to focus on those behaviors that are most meaningful to the animals themselves
•Shirly Strum --> I tried to let the baboons themselves “tell” me what was ‘important’ (-how a tree can tell you what is important to them?) -with the baboonss: nothing made them believe that she could be a baboon, so she decided after a while that she could try to urinate while staying among the baboons ==> surprise (=/= trying not to disturb the baboons with her body) --> her body (style, gender, smell, look, anime, etc.) made her enter into relationships with the animals in a new mode, **as a living person (like them) she creates with them an embodied proximity** (==> embodied affinities) [<-- Jassem is very good at it. this happens as well in apass research environment between artists]
  ---> go to Cinderella taking shower with her birds in the attic {urine, noise, surprise}
•Mark Bekoff --> empathy: possibility of sharing feelings involves mirror neurons (“I can feel the animals”) ~= (an experiment to incorporate) *to embody literally*
+ (Burghardt's) use of *critical anthropomorphism* (=/= Walt Disney) use of various forms of information (natural history, perception, behavioural description, autism, Cinderella, etc.)
•Temple Grandin (expert in factory plants for slaughter systems) --> *empathy without pathos* (for her and the animals) [*]world: a swirling mass of tiny details ~ [animal: autistic savant ~= special form of genius]--> a little plastic water bottle lying harmlessly, a shiny reflection, a yellow jacket hanging on a fence, all those turn out to be in their world *wrong details* (“I think the way animals think”) --> ****animals are visual thinkers**** {*you have to see in details*_ <-- how my work changed visually from abstract to baroque while working on the heritage of zoology. #Cinderella: which part of me animals give new powers and meanings? that part is of other beings}
-{Grandin actively transforms mindless animals into meaningful geniuses ==> gives them new powers ==> changes her}--> *animals (or your ghosts, your subjects) are invited to other modes of being, other relationships, new ways to inhabit the human world + to force human beings to address them differently : **disclosing unexpected affinities ==create==> new identities** (=/= empathy: tourism of the soul) --> identities do not pre-exist identification : *****previous construction of affinities ==> identity (is the outcome, the achievement)*****
(Grandin:) *marginal essence --transform--> partial perspective ==> affinities: (Haraway's) just-barely-connections*

}=/= romanticism: the belief that “feeling for another” belongs to some sort of naive state of nature


(#feedback: ways of showing the artists how they actively create the perspective that allows them to “see” --> ‘giving artistic feedback = being an anthropologist on Mars’)

Despret anticipate finding some references to the body (beyond simple “presence”) in the work of scientists --> the question of meaning + (its corollary) the question of perspective

tick's perception = world
(we know from Uexküll) one may indeed construct a perspective without involving the body - the perspective may be drawn partially from a mental process
•*animals only perceive things that have meaning for them*
•*animals construe meanings in acting*
Umwelt theory: a scientist may make an inventory of what makes the animal act and react --> collecting ‘meanings’ the scientist rebuilds the world as each animal perceives it + seeks for which meaning all these things take for it (=/= adopt the perspective of animal)

the scientist aims not just to understand what something merely ‘means’ for another being, but also how something ‘matters’ for it (~ the most meaningful)

language of perspective --Daston--> what does it mean to understand other minds
*sympathetic projection* [--> **perspective: apotheosis of subjectivity as the essence of mind] <-- a cultural shift:
•habit of interior observation cultivated by certain forms of piety
•increasingly refined language of individual subjectivity (developed in the 18th and 19th century novel)
•equation drawn between ‘sensory experience = self’ by sensationalist psychology
•economic (and political) individualism
•cult of sympathy

perspective ~= sympathy (with science + animals) --> an inappropriate form of subjectivity
1. adopting animal's perspective involves a dangerous flirtation with [*]anthropomorphism: one putting himself in the animal's shoe ~=? one actually put the animal in human shoes
2. perspective ==imperil==> necessary distance (or ‘sanitary cordon’ between the observer and the observed)
}==>
•anthropomorphism =/= science
•anecdote =/= legitimate date
•nonhuman =/= beliefs (--> you can't attribute belief to animals)


(old dualism of) “Science =/= non-science” ~= “imaginative (autobiographical, emotional) =/= factual (neutral)” ~= “body =/= mind”

(reconstruction of)
what is most meaningful for animal
what is the perspective of animal

*most meaningful: affected perspective* (Despret) =/= (Uexküll) semiological perspective (of the tick)

(looking for or) focus on affected perspective ==Despret==> (reveals) scientists’ bodies in their practice --> what having a body means (for scientists)
+
(Haraway ==>) *bodies are “made” by scientific practices [<-- that is why the question of science is important for whoever dealing or working with the body]
+
(Annemarie ==>) bobies (that are made) are enacted multiples (in medical practice)
+
(Despret -->) how bodies are undoing and redoing themselves through different scientific practices with animals? = *how are bodies growing multiples in diverse practices?* + (its corollary) *how do each of these practices (+ animals they are addressing) enact each of these bodies?*



Mowat's *modest embodiment* ==Despret==> partial affinities [=/= seeing like a wolf or mouse] ==> feeling or being like a wolf or mouse = ****to be taken in a radically non-psychological sense**** (--> Cinderella's non-psychological relation to her birds and mice =/= contemporary western psychological subjects)
---> go to wildboyz, Cinderella under a mouse regimen
-using his body as an experimental tool --> eating a wolf's diet (=/= empathy, romantic dream of being a wolf)
submit his own body to mouse diet
one uses one's own body to meet the needs of another
Mowat used his own body as a means of generating scientific proof, and turned it into an apparatus for validity [--> how do we apply or misapply our body in artistic environment for generating truth and validity? to be careful with the context of generalization]
([artist's and] scientist's) body: a technical device, the witness
(companion story -->) ***to embody the way other beings solve their survival problems***

“the business of curling up to start with, and spinning around after each nap” (was vital to success with a dozing wolf) --> Cinderella's choreography of the morning greeting ceremony

limits of endurance


i feld that i, because of my specific superiority as a member of Homo sapiens, together with my intensive technical training, was entitled to *pride of place* =/= being under observation

Mowat's humour =/= Derrida not laughing at his own worries (concerned with: what distinguish animals from man is their “being naked without knowing it”)
•naked body is a pretext, a pre-text for more philosophy
•Derrida is talking to his colleagues (the very people who are **seeking grandiose difference** <-- also artists) =/= a difference that happens to him
•(my problem with the old tiring trend in philosophy [after encounter with Manning]:) looking for locus of things [a generality] : talk about ‘the figure of the cat' = the allegory for all the cats on the earth (~ the felines that traverses our myths and religions, literature and fables)

***what the cat might actually be doing***
(this is my relation to description, what is the world, that cat, the demon, the mice up to? and use my best imaginative crafts and precise descriptive acts, the answers are many. that is not about definition or defining ‘what is’ the cat that visits me or the spider in my room. i only try to well define concepts and not subjects. my style of presenting my research on ajayeb bestiary: narrating the contingency of the differences that happened and mattered to me in particular =/= philosophy)


wolves (=/= nomadic roamer) have strong feelings of property rights and they ritually and regularly mark their boundaries


what am i allowed to do with my body when i am with animals?

(Despret + Strum + Mowat) using one's body to make the animal respond (--> does this make sense with humans? in apass for example --?--> use your body to make them respond =/= react)
--Haraway--> a “good” (actually bad) scientist = learning to be invisible, like a rock to be unavailable, as if data-collecting humankind were not present, seeing the scene of nature close up through a peep-hole, remove from the subject animals’ social environment
•(ignoring animal social cues) imagining the baboons as seeing somebody off-category, not something --> to be a *nonentity* (tolerated but unobtrusive!!)
--> [*]distance: a cognitive and relational perspective {what kind of distance, aesop fables, Kelile Demne, or ajayeb takes or keeps?}
--> learn to be [*]polite: (in the ethical, political, and epistemological senses of the word) to respond, to acknowledge, to look back, and *to greet*

****politeness ==> transforms you --> in the way of those you are being polite to**** (<--?-- Cinderella's politeness)


companion story --> wich who we share food {=/= with who we cook together <-- generated protocols ==> host, guest, house, power}



[(Annemarie's) praxiographic enquiry into the] (Despret's) embodied practices of knowing [of (Sina's) Cinderella]

**bodies enact =/= perform**
@Chloe, Mette --> (ironic) performing a protocol =/= embodied choreography
(contemporary choreography =/= embodiment)

(scientists and animals are fleshy creatures which are) enacted and enacting through their *embodied choreography* (<-- epistemological, political, ontological)

scientist work [observing, collecting events, meeting them, writing about, inscribing them into theories --> explain why they do what they do] ==> *makes their animals more real*
--Despret--> a praxiographic account [~= feedback] (paying attention to the way scientists embody their work) ==> *make scientists more real*


(for apass) we need praxiography =/= philosophy or theory [of artistic research]
Sina's note taking in apass --> how *practices at some point become words*
#feedback in apass ==make==> artists and their work more real
feedback ==> interpretive version --> coexistence of the various versions of a multiple object (<-- this is localized or *situated* : it happens “there” and nowhere else)
work of observation in apass:
•conceptualizations of short-term social exchanges
•conceptualizations of agency-structure dynamics
•getting closer to the everyday activities of those speaking
•(context driven?) forms of analysis
•methodological repertoire
•note: composites of linguistic repertoires that are embedded in meanings (is part of what happens in apass, not after what happens.) --> a form of digestion***
*praxiography: forms of analysis produced by practice researchers, a type of ethnographic method that converses with multiplicity (--> following a trail, walking a path =/= map out a field ~= philosophy of artistic research), doctors [analyst] and patients [analysand, artist] ascribe meaning in different ways --Annemarie--> yet they perform or enact reality together --> they *do the reality of a disease [problem, artwork]*
++{Annemarie uses the term “enact” to show that objects (such as body and disease) exist as articulations of the practices that produce them (~= Butler's performance), enacting (not explained by what went before, present remains unstable, patterns and routines and surprises) =/= making (‘causes’ lie when ‘making’ happened)}
[*]theory: conversations about the realities our words help to explore (=/= seeking to fix concepts)
in knowledge practice realities are various brought into being (+ limits of that adaptability) --> *ontology:
--anthropology--> people order “reality” seriously differently
--biomedical--> why, when, where is this truth realized? what does it depend on? what are its alternatives? --> *ontology does not precede knowledge practices* (various practices are closely linked ==> ontologies are linked [for example a patient who talks to a doctor in a consulting room may receive a clinical diagnosis, while laboratory measurements ‘do’ her disease in a different way. or in artistic research environments such as apass.])

(Annemarie's) praxiography --> asking what are the techniques that make things (their empirical, epistemological found objects) visible, audible, tangible, knowable (for this artist in front of me #feedback @apass)**


‘empathy’ is a word that is often recruited when bodies are involved --> resonances with troublesome romantic meanings (magic, fold knowledge)
embodied empathy shifts its meaning from one situation to another --> different meanings ==> different outcomes
[*]empathy: the process by which one delegates to one's body a question, or a problem, that matters and that involves other beings’ bodies --> bodies are articulating and become articulated in the asking and in its responses
= making the body available for the response of another being (=/= feeling what the other feels)
==create==> possibility of an embodied communication (=/= experiencing with one's body what the other experiences)
---> go to Cinderella's empathy: make one think with & with the body
--Despret--> *empathy becomes a scientific tool* that need to be shaped, forged, refined, embodied, a tool that attunes bodies

[*]care: it matters for them that it matters for their animals (***what matters for the other person becomes your matters***)

how to act in a polite manner in a baboon's world? (or in an artist's world, when we give feedbacks)
{seeing like a baboon =/= acting like a baboon = corresponding with a baboon}--> *they transform themselves in order to create partial connections* (James’ “acting as if”) =/= performative
•to act with the baboons (learn how a tree gives you dirty looks, how it resists the proposition of your presence)
•Lorenz's “becoming with”
•Despret's “the miracle of the attunement”

embodied communication --> responsible relation --> constructing the possibility of engagement

[*]responsible: the one who constructs him/herself in order to be available to a respond

--Despret--> (to imagine that we can actually) correspond through the choreographic language of our bodies

“traying to get knowledge" = knowing for the sake of knowing }<-- 19th century adventure hunter archeologist imperialism

***(for James) [*]emotion: what makes us feel (=/= what is felt), an experience of making available ==> an occasion for others : ****emotions ==> dispose our bodies**** (+ our bodies dispose our emotions) @Chloe
-if we want to feel an emotion, we can dispose our body to produce it (<-- this was my method in my early performances in 2014)

Lorenz, Strum, Smuts, Despret
learn to become wh[...]