[...]ive='strcls'>* (="ppl">="ppl">Despret) ='lgc'>=/= (Uexküll) ="trms">semiological perspective (of the tick)

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



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

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

="large lg2" stl="font-size:110%"> limits of endurance


="large lg1" stl="font-size:139%"> i feld that i, because of my ="trms">specific superiority as a ="trms">member of Homo sapiens, together with my intensive ="trms">technical training, was entitled to ='strcls'>*pride of place='strcls'>* ='lgc'>=/= being under observation

Mowat's humour ='lgc'>=/= ="ppl">Derrida not ="trms">laughing at his own worries (concerned with='lgc'>: what distinguish ="trms">animals from man is their “being naked without knowing it”)
="lsts lst1">•naked body is a pretext, a pre-text for more philosophy
="lsts lst1">•="ppl">Derrida is talking to his colleagues (the very people who are ='strcls'>**seeking grandiose ="trms">difference='strcls'>** ='lgc'><='lgc'>-- also artists) ='lgc'>=/= a ="trms">difference that happens to him
="lsts lst1">•(my problem with the old tiring trend in philosophy ='lgc'>[after encounter with Manning='lgc'>]='lgc'>:) looking for locus of things ='lgc'>[a generality='lgc'>] ='lgc'>: talk about ‘the figure of the cat'='lgc'> = the allegory for all the cats on the earth (='lgc'>~ the felines that ="trms">traverses our myths and ="trms">religions, ="trms">literature and ="trms">fables)

='strcls'>***what the cat might actually be doing='strcls'>***
(this is my ="trms">relation to description, what is the ="trms">world, that cat, the demon, the mice up to='qstn'>? and use my best ="trms">imaginative ="trms">crafts and precise descriptive acts, the answers are many. that is not about de="trms">finition 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 ="trms">presenting ='mywrk'>my research on ="nms">ajayeb ="trms">bestiary='lgc'>: ="trms">narrating the ="trms">contingency of the ="trms">differences that happened and ="trms">mattered to me in particular ='lgc'>=/= philosophy)


wolves (='lgc'>=/= nomadic roamer) have strong feelings of property ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights and they ritually and regularly mark their boundaries


what am i allowed to do with my body when i am with ="trms">animals='qstn'>?

(="ppl">="ppl">Despret ='lgc'>+ Strum ='lgc'>+ Mowat) using one's body to make the ="trms">animal ="trms">respond (='lgc'>='lgc'>--> does this make sense with humans='qstn'>? in ="nms">apass for example ='lgc'>--='qstn'>?='lgc'>='lgc'>--> use your body to make them ="trms">respond ='lgc'>=/= react)
='lgc'>--="ppl">="ppl">Haraway='lgc'>='lgc'>--> a “good” (actually bad) ="trms">scientist='lgc'> = learning to be invisible, like a rock to be unavailable, as if ="trms">data-collecting humankind were not ="trms">present, seeing the s="trms">cene of ="trms">nature close up through a peep-hole, remove from the subject ="trms">animals’ ="trms">social environment
="lsts lst1">•(ignoring ="trms">animal ="trms">social cues) ="trms">imagining the baboons as seeing somebody off-="trms">category, not something ='lgc'>='lgc'>--> to be a ='strcls'>*nonentity='strcls'>* (tolerated but unobtrusive!!)
='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]distance='lgc'>: a cognitive and ="trms">relational perspective ='lgc'>{what kind of distance, aesop ="trms">fables, Kelile Demne, or ="nms">ajayeb takes or keeps='qstn'>?='lgc'>}
='lgc'>='lgc'>--> learn to be ='lgc'>[='strcls'>*='lgc'>]polite='lgc'>: (in the ethical, political, and ="trms">epistemological senses of the word) to ="trms">respond, to acknowl="trms"nttrm="knowledge,Knowledge">edge, to look back, and ='strcls'>*to ="trms">greet='strcls'>*

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


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



='lgc'>[(="ppl">Annemarie's) praxiographic enquiry into the='lgc'>] (="ppl">="ppl">Despret's) ="trms">embodied practices of knowing ='lgc'>[of (="frds">Sina's) ="nms">Cinderella='lgc'>]

='strcls'>**bodies enact ='lgc'>=/= perform='strcls'>**
='at'>@="frds scrmbld">Chloe, Mette ='lgc'>='lgc'>--> (ironic) performing a protocol ='lgc'>=/= ="trms">embodied choreography
(contemporary choreography ='lgc'>=/= ="trms">embodiment)

(="trms">scientists and ="trms">animals are fleshy creatures which are) enacted and enacting through their ='strcls'>*="trms">embodied choreography='strcls'>* (='lgc'><='lgc'>-- ="trms">epistemological, political, ="trms">ontological)

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


(for ="nms">apass) we need praxiography ='lgc'>=/= philosophy or theory ='lgc'>[of artistic research='lgc'>]
="frds">Sina's note taking in ="nms">apass ='lgc'>='lgc'>--> how ='strcls'>*practices at some point become words='strcls'>*
='at'>#feedback in ="nms">apass ='lgc'>==make='lgc'>='lgc'>==> artists and their work more real
feedback ='lgc'>='lgc'>==> ="trms">interpretive version ='lgc'>='lgc'>--> coexistence of the various versions of a multiple object (='lgc'><='lgc'>-- this is localized or ='strcls'>*="trms">situated='strcls'>* ='lgc'>: it happens “there” and nowhere else)
work of observation in ="nms">apass='lgc'>:
="lsts lst1">•conceptualizations of short-term ="trms">social exchanges
="lsts lst1">•conceptualizations of ="trms">agency-structure dynamics
="lsts lst1">•getting closer to the everyday activities of those speaking
="lsts lst1">•(context driven='qstn'>?) forms of analysis
="lsts lst1">•="trms">methodological repertoire
="lsts lst1">•note='lgc'>: com="trms">posites of ="trms">linguistic repertoires that are embedded in meanings (is part of what happens in ="nms">apass, not after what happens.) ='lgc'>='lgc'>--> a form of di="trms">gestion='strcls'>***
='strcls'>*praxiography='lgc'>: forms of analysis produced by practice rese="trms"nttrm="search">archers, a type of ethnographic ="trms">method that converses with multiplicity (='lgc'>='lgc'>--> following a trail, walking a path ='lgc'>=/= map out a field ='lgc'>='lgc'>~= philosophy of artistic research), doctors ='lgc'>[analyst='lgc'>] and patients ='lgc'>[analysand, artist='lgc'>] ascribe meaning in ="trms">different ways ='lgc'>--="ppl">Annemarie='lgc'>='lgc'>--> yet they perform or enact reality together ='lgc'>='lgc'>--> they ='strcls'>*do the reality of a disease ='lgc'>[problem, artwork='lgc'>]='strcls'>*
='lgc'>+='lgc'>+='lgc'>{="ppl">Annemarie uses the term “enact” to show that objects (such as body and disease) exist as ="trms">articulations of the practices that produce them (='lgc'>='lgc'>~= ="ppl">Butler's performance), enacting (not explained by what went before, ="trms">present remains unstable, patterns and ="trms">routines and surprises) ='lgc'>=/= making (‘causes’ lie when ‘making’ happened)='lgc'>}
='lgc'>[='strcls'>*='lgc'>]theory='lgc'>: conversations about the realities our words help to explore (='lgc'>=/= seeking to fix concepts)
in knowl="trms"nttrm="knowledge,Knowledge">edge practice realities are various brought into being (='lgc'>+ limits of that adaptability) ='lgc'>='lgc'>--> ='strcls'>*="trms">ontology='lgc'>:
='lgc'>--="trms">anthropology='lgc'>='lgc'>--> people order “reality” ="trms">seriously ="trms">differently
='lgc'>--biomedical='lgc'>='lgc'>--> why, when, where is this truth realized='qstn'>? what does it depend on='qstn'>? what are its alternatives='qstn'>? ='lgc'>='lgc'>--> ='strcls'>*="trms">ontology does not precede knowl="trms"nttrm="knowledge,Knowledge">edge practices='strcls'>* (various practices are closely linked ='lgc'>='lgc'>==> ="trms">ontologies are linked ='lgc'>[='thdf'>for example a patient who talks to a doctor in a consulting room may receive a clinical diagnosis, while laboratory ="trms">measurements ‘do’ her disease in a ="trms">different way. or in artistic research environments such as ="nms">apass.='lgc'>])

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


‘empathy’ is a word that is often ="trms">recruited when bodies are involved ='lgc'>='lgc'>--> resonances with troublesome romantic meanings (magic, ="trms">fold knowl="trms"nttrm="knowledge,Knowledge">edge)
="trms">embodied empathy shifts its meaning from one ="trms">situation to another ='lgc'>='lgc'>--> ="trms">different meanings ='lgc'>='lgc'>==> ="trms">different outcomes
='lgc'>[='strcls'>*='lgc'>]empathy='lgc'>: the process by which one delegates to one's body a ="trms">question, or a problem, that ="trms">matters and that involves other beings’ bodies ='lgc'>='lgc'>--> bodies are ="trms">articulating and become ="trms">articulated in the as[...]