[...]unts for them ='lgc'>='lgc'>--> you have to create ="trms">situations that permit the ravens to help you decide (among all the contesting ="trms">fictions) the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right ="trms">fiction ='lgc'>[='at'>#artistic feedback as ="trms">fictioning='lgc'>]
dance of hesitation
(a cadaver لاشه, once a preditor, waiting for an imprudent raven) to reverse the ="trms">situation='lgc'>: to convert the ="trms">bird into ="nms">a little more of itself
='lgc'>='lgc'>==> salutary egoism='lgc'>: it would be better to be with many others in the case of this type of error
organization
cooperation
i find, you open
='strcls'>*work of the rese="trms"nttrm="search">archer='lgc'> = leading the ravens to take a ="trms">position in ="trms">relation to his ="trms">fictions and hypothesis='strcls'>* (resisting those that don't explain, clarifying those that do) ='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> ='strcls'>**the rese="trms"nttrm="search">archer must create a dis="trms">positive that confers on the ravens “the power not to submit to his ="trms">interpretations”='strcls'>** ='lgc'><='lgc'>-- politeness of “getting to know” ='lgc'>{"getting to know you” does not necessarily turn on an attentive benevolence but on the art of finding the forces, and exchanging them, in an exercise of ='lgc'>[='strcls'>*='lgc'>]rivalry='lgc'>: (constituted by) a clever mixture of complicity ='and'>& op="trms">position='lgc'>}
="large lg2" stl="font-size:112%">
test of the intelligence and cunning (of each other)
(in the case of ravens ='lgc'>[and ='at'>#feedback in art='lgc'>])
theoretically ='lgc'>='lgc'>--> we understand nothing
practically ='lgc'>='lgc'>--> we have to learn their tricks to be able to approach them
='strcls'>**a ="trms">matter of finding the procedures that attest to the pertinence of explanations='strcls'>** (='lgc'>=/= a ="trms">matter of explaining/understanding them)
enigma ='lgc'>--='lgc'>{(like good detective ="trms">stories) inscribes the protagonists in a ="trms">relation of='lgc'>}='lgc'>='lgc'>--> rivalry هم اورى ='lgc'>: if you want to understand them you must try to be as smart and cunning than they are (not letting oneself be duped by appearances)
politeness ='lgc'>='lgc'>--> suspicion ='lgc'>='lgc'>~= respect (‘re-="trms">spectare’ to look twice)
="lsts lst1">•confidence without verification offers little guarantee as to its robustness
we want to witness in a re="trms">liable manner='lgc'> = we want that which we learn from the ravens is to be treated with confidence='lgc'> = we want to define ourselves as ="trms">authorized by them to speak in their names='lgc'> = we want to (required to) offer them the opportunity to show what they can do (with the ='strcls'>*great flexibility of our ="trms">interpretation='strcls'>*)
='lgc'>[='strcls'>*='lgc'>]="trms">trap
(enigma of the apparently inexplicable behavior) ='lgc'>='lgc'>--> ='strcls'>*how to ask the ravens, with the same politeness, to take a ="trms">position in ="trms">relations to all the possible conjectures of the investigation='qstn'>?='strcls'>* how to ask them to teach us the good explanation, the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right motive='qstn'>? ='lgc'>='lgc'>==> the rese="trms"nttrm="search">archer will have to learn the ='strcls'>***art of the ="trms">trap and the net='strcls'>***='lgc'> = the art of the ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure and the trick='lgc'> = ='strcls'>***the art of learning from those whose enigma you are trying to solve='strcls'>*** (and have no intention of helping you) ='lgc'>='lgc'>--> ‘how that which counts can count for them’
="lsts lst1">•='strcls'>*the art of metis / cunning intelligence='strcls'>* ='lgc'>: the particular form of intelligence that the ="trms">greeks (learning from hunters and fishermen) cultivated='lgc'> = intuition شهود ='lgc'>+ cunning مکر ='lgc'>+ perspicacity فراست ='lgc'>+ dissimulation فریب ='lgc'>+ improvisation بدیهه ='lgc'>+ vigilant attention هوشيار ='lgc'>+ sense of timeliness بجا (='lgc'><='lgc'>-- this type of “getting to know” was constituted exaclty to be found in a domain where human intelligence is constantly at grips with the land or sea ="trms">animals in an are where humans saw their intelligence and ="trms">techniques transform in learning from ="trms">animals='strcls'>**** ='lgc'>[-how to prolong the possibility of this transformation='qstn'>?='lgc'>]) ='lgc'><='lgc'>-- ='strcls'>*it is the only way of getting to know that can hope to address intelligent highly flexible='strcls'>* (="ppl">="ppl">Despret > Heinrish)='lgc'> = ravens who require of those who want to know them the same flexibility and the same intelligence
='lgc'>}='lgc'>='lgc'>-->='lgc'>[="trms"nttrm="already,spread">reading ="nms">ajayeb ="trms">bestiary as enigma; ="nms">Bambi's mother studies; little mermaid; (using ="ppl">="ppl">Despret's ethological research to think about) art of feedback ='lgc'>='lgc'>~= getting to know you ='lgc'>=/= audience engagement='lgc'>]
strange politeness
art of cunning (="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures ='lgc'>+ manipulation) ='lgc'>='lgc'>--> enticing ravens
='strcls'>*seeing without being seen='strcls'>*
="trms">obliging them ='lgc'>: ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luring them to actualize the choices ='lgc'>: ='strcls'>***creating ="trms">situations as if they were ="trms">natural='strcls'>*** (so as to let the ="trms">birds do the talking)
(it is a ="trms">matter of) rendering them more robust ='lgc'>[giving them the occasion to resists, of giving them ='strcls'>*the power to send the rese="trms"nttrm="search">archer/="trms">storyteller to work='strcls'>* ='lgc'>=/= to dis="trms">articulate (what ="ppl">Ferdosi does in Shahnameh to the Div)='lgc'>]
to find an enticement that ="trms">interests them ='lgc'>='lgc'>~= to let himself be ="trms">recruited by them
='lgc'>[from Latin “cresc-” grow, rise ='lgc'>='lgc'>==> crescent, crew, decrease, crescendo, ="trms">recruit='lgc'>]
to trust them='lgc'> = to act like them
='at'>@="nms">apass feedback (="trms">differential knowl="trms"nttrm="knowledge,Knowledge">edge that is created because of not trusting)
the ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure could be used to ="trms">respond to this ="trms">question='lgc'>: the ravens fall for the trick
...not only do the ravens not ="trms">respond to ="trms">questions but they pose new ones
="prgrph">-how could we ask them (the ravens, trees, etc.) to verify our hypothesis (about them)='qstn'>?
='strcls'>*he has no answers ='lgc'>=/= he has nine hypothesis='strcls'>*
biological detective ="trms">stories
curiosity (for the things you discover that you don't know) ='lgc'><='lgc'>== the more you know
more cunning
more ="trms">imagination
more activities
='lgc'>--to='lgc'>='lgc'>--> ="trms">obligate ravens to choose between hypothesis
='lgc'>{ Heinrish='lgc'>: “It is still dark, and I'm al="trms"nttrm="already,spread">ready being awakened by raven calls! Several ="trms">birds are flying over Kaflunk making short, high-pitched calls that are unlike the usual quorks. These calls convey ex="trms">citement. The ="trms">birds are flying to a kill! I feel it. Even I can understand, and I too am ="trms">recruited” ='lgc'>}='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> ='strcls'>***if this ="trms">recruitment by nonhumans was able to acquire such an efficacy, it is because the human was transformed by those whose enigma he was trying to understand='strcls'>*** ='lgc'>[='lgc'>=/= ="trms">animal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights activist ='lgc'>='lgc'>==> evidence arrive in the form of a weakened raven that has to be saved='lgc'>]
='strcls'>***letting himself be drawn into their enigma='lgc'> = converting the environment into ="nms">a little more of himself ='lgc'>='lgc'>==> he learned to become sensitive to what makes the ravens sensitive='strcls'>*** (="nms">Cinderella's mice learned that about her)
Heinrish ='lgc'>='lgc'>--> I, as a mammal for whom they are not intended, can feel ='lgc'>[...='lgc'>] I also feel I can detect a raven's surprise, happiness, bravado, and self-aggrandizement
(recognizing one another ='lgc'>='lgc'>==>) to go by way of what the ravens ="trms">demand ='lgc'>--="nms">Cinderella='lgc'>='lgc'>--> ='strcls'>*progress often depends more on how well one follows the ="trms">situation than on how well one controls='strcls'>* (especially when control is difficult)
="lsts lst1">•one must learn to ask them to give evidence ="trms">differently and to try to understand ='strcls'>*how a raven ponders a ="trms">question='strcls'>*
and now, when everything is suddenly new, this ="trms">bird acts as if nothing is out of the ordinary! ='lgc'>[...='lgc'>] I can only guess that they see it not as an absolute but as departures from the accepted. when everything is ="trms">different, then comparisons cease, and almost anything can be accepted -Heinrish
(='lgc'>='lgc'>--> ="trms">integration)
tame
="trms">questions that the other ones do not allow to be asked
tamed and be tamed to better find out what ="trms">matters from a raven's point of view
gain the trust to ="trms">respond to the ="trms">demands of the politeness of ='strcls'>*getting to know='strcls'>*
="lsts lst1">•the dis="trms">positive of taming then proves to be a privileged access of “getting to know” ='lgc'>: it actualizes competences that have less chance of occuring in usual conditions (those of the ="trms">birds and those of the rese="trms"nttrm="search">archer) ='lgc'>='lgc'>==> transforms habits (those of the ="trms">birds and those of the one who investigate them)
aviary مرغدانی
the most adventurous ='and'>& the most curious ='lgc'>='lgc'>==> the most attached to the rese="trms"nttrm="search">archer (to ="nms">Cinderella) ='lgc'>='lgc'>==> hierarchy takes shape as a function of bravery ='lgc'>[='lgc'>=/= bravery of adventure in the shape of radical detachment and fluidity='lgc'>]
(when) ='strcls'>*investigator becomes biographer='strcls'>* (='lgc'>='lgc'>==> the ="trms">story changes)
(how when why) the fact of ="trms">recruiting must be linked to de="trms">monstrations of bravery
="trms">position in the hierarchy
manner of ="trms">recruiting
shyness='lgc'>: dancing a little dance of hesitation
="large lg1" stl="font-size:139%">
(="ppl">="ppl">Despret's account of how Heinrish succeeded in) ="trms">recruiting the ravens around his problem ='lgc'><='lgc'>~='lgc'>~='lgc'>~='lgc'>~> ='strcls'>*he sufficiently ="trms">recruited himself to invent pertinent ways of addressing them='strcls'>* ='lgc'>='lgc'>==> the models are now commensurate متناسب with their unpre="trms">dictability
='at'>@="nms">apass
Heinrish becomes their expert and their re="trms">liable spokesperson ='lgc'>='lgc'>==> (like ="frds scrmbld">Pierre) he could now convince and ="trms">interest his colleagues in terms that count for them (='lgc'>='lgc'>==> enroll other rese="trms"nttrm="search">archers to pose other ="trms">questions) ='lgc'>='lgc'>==> he could bear witness for them
='lgc'>=/= Hitchcock's the ="trms">birds ='lgc'>='lgc'>--> ="trms">nature turned to ="trms">horror, based on in Germany in mid-1990s fifty ravens invaded the idyllie Swabian Alps region... ='lgc'>='lgc'>==> their killing would be necessary
(chain of ="trms">recruitment='lgc'>:) the German ravens had in thier turn succeeded in ="trms">recruiting the re="trms">presentative of the american ravens, and Heinrish was able to ="trms">recruit ="trms">ecologists, who in their turn mobilized experts and politicians, who themselves modified the habits of the owners of the cows and sheep... ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Tsing's coalescence='lgc'>]
='strcls'>***amazing ="trms">inter="trms">specific ="trms">recruitment='strcls'>***
="frds">Sina ='lgc'>--telegram='lgc'>='lgc'>--> visual ="trms">animal ='lgc'>--inventing='lgc'>='lgc'>--> ="trms">hallucinating ='lgc'>--spoiled='lgc'>='lgc'>--> dis="trms">sociated
="frds scrmbld"nttrm="Godard">Goda ='lgc'>--Boicic='lgc'>='lgc'>--> wounded dog ='lgc'>--saving='lgc'>='lgc'>--> mothering ='lgc'>='lgc'>--> traumatized (left alone)
="large lg10" stl="font-size:110%">
wolf observers
Heinrish's colleagues who study wolves in Yellowstone ="trms">Natural Park
the peaceful cohabitation between the wolves and ravens
in Yellowstone when the ravens are in the ="trms">presence of wolves, do not de="trms">monstrate any timidity and do not hesitate a second before eating ='lgc'>='lgc'>--> the wolves allow ravens to conquer their fear ='lgc'>='lgc'>--> wolves changed the constrains that hold sway over the habits of the ravens
the ravens of much more alert and vigilant than the wolves (the ="trms">birds serve the wolves as extra eyes and ears)
the prophecy ="trms">translated in terms of ="trms">recruitment ='lgc'>--="ppl">="ppl">Despret='lgc'>='lgc'>--> who could have thought, if not no doubt a descendant of La Fontaine, that it is the ravens who protect the wolves and permit then to eat with their eyes closed='qstn'>? ='heart'>♥
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='lgc'>[title='lgc'>]
the old taghalob (تقلب cheat)
="trms">history of enumeration in the ="nms">Iran (="trms">measurement, weight, scale)
the ="trms">history of our non-mathematical practices
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
time ="trms">travel (in TV series or ="trms">literature) ='lgc'>='lgc'>--> (regardless if they are dystopian or not) essential for creating sensations of ="trms">historical continuity
Marzolph on pre="trms">modern middle eastern ="trms">narrative culture
seafaring merchant...
sailor's yarns
tales documented in persian ="trms">literature of the muslim period appear to be offshoots of earlier versions in either indian or arabic ="trms">literature ='lgc'>='lgc'>--> arabic as the ="trms">lingua franca of the day
Kitab ="nms">ajayeb al Hind, ="trms">wonders of india, 10th century by ="nms">iranian captain Bozorg ibn Sahriyar of Ramhormoz
(Marzolph holisitic assessment ='lgc'>[='lgc'>=/= Beyzai's parochial claims of ="nms">iranianness='lgc'>] of) middle-eastern ="trms">narrative traditions='lgc'> = arabic ='lgc'>+ persian ='lgc'>+ otaman turkish ='lgc'>+ jewish ='lgc'>+ christian (='lgc'>+ several other) ="trms">narrative traditions related to each other and none of which may claim an ex="trms">="trms"nttrm="cluster,club">clusive ="trms">position
city of Brass
the Golden City is a legendary city built in africa by Tawil, the brother of the giant Ug, both of whom were born from the incestuous ="trms">relation between Cain and his sister Anaq. having been deserted for more than a thousand years, the Golden City was later conquered by Egyptians and became the source of their ="trms">fabulous wealth.
agahi آگاهی knowl="trms"nttrm="knowledge,Knowledge">edge
na javan mard ناجوانمرد impudent one
farz فرض rite
sonat سنت manner
mardi مردی manly combat
='lgc'>[="frds">Sina, ="frds scrmbld">Ehsan ='lgc'>='lgc'>-->='lgc'>] in the manner of ='strcls'>*="trms">narrative men='strcls'>* ='lgc'>='lgc'>--> typical for the thousand and one nights='lgc'>--whose protagonists of merchants (often thrift sons of rich merchants, who embark on ="trms">travel after they have wasted their fortune with false friends)
="lsts lst1">•save himself by his inventiveness, strong determination, physical strength
="lsts lst1">•there is no single predestined future but a variety of options whose eventual practical course depends on the protagonist's active ="trms">intervention
="lsts lst1">•(="nms">Sinbad left behind on an island where) the Ruhh has laid its eggs (spirit's eggs تخم های روح 🥚🥚🥚)
="lsts lst1">•althought most of them kill other people in order to survive, their action is spontaneously motivated by the needs of the moment
="lsts lst1">•
با هزار زحمت with a thousand efforts
customary formal “hearing is obeying”
pitfalls
“='lgc'>[...='lgc'>]When I returned home, my wife had died. They lifted her up, took me along, and brought us to that cave. With a rope they let me down and blocked the entrance of the cave. After they had lowered the ='lgc'>[body of my dead='lgc'>] wife and the ='lgc'>[bundle of='lgc'>] clothes and I had regained my senses, I got up and saw a tremendously large cave. I installed the wick and lit the lamp, chose a place by the side, cleaned it and made a bedstead. And when every two days they threw somebody down there alive, I killed that person with my knife and took the supplies of three days b="trms"nttrm="already,spread">read and water, until one day they de="trms">posited in that cave my former wife’s sister alive, together with her dead husband. When she saw me, she recognized me and consented to marry me. I slept with her and had several ="trms">children with her. Some time later I started to dig the ground in a corner of the cave with my knife until I had made a ='lgc'>[large='lgc'>] hole to the side of the sea. Every day I would sit there, until I finally saw a ship. I attached a piece of cloth to a stick and waved it, until the ship came close and took me and my ="trms">children aboard. They also asked me the same ="trms">question ='lgc'>[i. e. why my ="trms">children had heads like horses='lgc'>], I told them my ="trms">story, and they delivered me to my country. I had many more ="trms">children with that woman. This is the ="trms">story of my ="trms">children and their ="trms">ancestry.”
moral ="trms">obligation of contemporary ="trms">society
...the king would use the slave girl as muslim men would do='lgc'> = for entertainment of all kinds (in="trms"nttrm="cluster,club">cluding sexual ="trms">intercourse, but not eating them)
relief after hardship فرج بعد از شدت
urdu romance bagh o bahar باغ و بهار
(the considerably older) misogynous motif of the unfaithful wife
husband and sife being buried together
='lgc'>='lgc'>--> part and parcel of the ='strcls'>**="trms">narrative stock='strcls'>** talented ="trms">storytellers would exploit to construct their tales
="trms">intertextual references
="lsts lst1">•cannibal black men
="lsts lst1">•the one-eyed person whose one eye had been picked out by a ="trms">bird (a well-known ="trms">narrative from pre="trms">modern arabic and persian tradition, a one-eyed character is taken as an ill omen, whereas here he figures as a friendly advisor and helper)
="lsts lst1">•
='lgc'>='lgc'>--> ='strcls'>***stock characters='strcls'>*** of pre="trms">modern middle eastern ="trms">literature
Marzolph ='lgc'>='lgc'>--> concider texts as artful creations ="trms">composed by a talented ="trms">narrator ='lgc'>=/= taking texts as the products of an anonymous popular “="trms">fold” tradition that would indiscriminately غيرمشخص lump together all kinds of ="trms">material ='lgc'>='lgc'>==> belittling the creative act of a single individual
='strcls'>*="trms">intertextual allusions (to themes, motifs, concepts familiar to the audience) ='lgc'>: a highly effective narative ="trms">technique for linking new and unknown tales to a web of tradition the audience shares='strcls'>*
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='strcls'>*='lgc'>~._
all the familiar landmarks of your thoughts that you find in somebody else's
عجایب نامه ="nms">ajayeb (doing it here in europe)='lgc'>: the exotic charm of another ="trms">system of thought (='lgc'>='lgc'>~= its limitation)
='lgc'>[='strcls'>*='lgc'>]="trms">zoo='lgc'>: terrible grounds that the ="trms">child ='lgc'>[= us='lgc'>] enjoys='lgc'> = primal s="trms">cene of conquest (of nation building, of state power) ='lgc'>--carceral='lgc'>='lgc'>--> s="trms">cene of sadistic pleasure, where bodies become “flesh” ='lgc'>[='lgc'><='lgc'>-- telegram is all of this='lgc'>]
(="ppl">="ppl">Hayward ='lgc'>+ Borges)
='lgc'>[='strcls'>*='lgc'>]="trms">child='lgc'>: a primal s="trms">cene='lgc'> = the promise of the ="trms">social, the human, and the future ='lgc'>='lgc'>--> ='strcls'>***="trms">child is necessary for the ="trms">ongoingness of colonialism='strcls'>*** ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to the ="trms">children in The 100 TV series ='lgc'><='lgc'>-- ='strcls'>*white ="trms">child='lgc'>: an explorer of terrible grounds='strcls'>*='lgc'>]
="lsts lst1">•conscripted labor
="lsts lst1">•enslavement
="lsts lst1">•necropolitical economy
="lsts lst1">•
='lgc'>--elaborating-proliferating='lgc'>='lgc'>--> productive engines of empire
='lgc'>}='lgc'>--="ppl">="ppl">Hayward='lgc'>='lgc'>--> how might the effects of colonialism always find ="trms">children enjoying terrible places='qstn'>?
the subtending (entgegensetzend) logic of the ="trms">zoo
="large lg10" stl="font-size:130%">
sadism='lgc'>: the trouble of enjoying terribleness
(="ppl">Lacanian) ="trms">imaginary ='lgc'>--desires='lgc'>='lgc'>--> coherence (='lgc'>=/= fragmentation) ='lgc'>==generates='lgc'>='lgc'>==> a compromise ='lgc'>: an idealization of the self as whole, between the unbearability of ="trms">interiority and exteriority
='strcls'>*="trms">imaginary is unavoidable, the ="trms">obligatory state of existence (for speaking subjects) ='lgc'>==constitutes='lgc'>='lgc'>==> real effects
="large lg10" stl="font-size:103%">
="lsts lst1">•Borges ='lgc'>='lgc'>--> ="trms">imaginary ='lgc'>='lgc'>--> a ="trms">world in pieces (="trms">monstrous fragmentation), impossible ="trms">world of ‘that’
="lsts lst1">•="ppl">Lacan ='lgc'>='lgc'>--> ="trms">imaginary ='lgc'>='lgc'>--> tentatively precariously constitutes a sense of self through alienation
(="ppl">="ppl">Hayward > Borgesian) ='strcls'>****="trms">zoo ='lgc'>--constitutes='lgc'>='lgc'>--> a primal s="trms">cene of colonial violence though which fantasy and ="trms">imagination, dragons and unicorns, are ="trms">articulated, organized, rendered as “elsewhere” ='lgc'>=/=='qstn'>? ="nms">ajayeb pre="trms">modern
="trms">zoo
one of the most ancient institutions
transformed by the event horizon of ="trms">modernity
(Fanon dramatizing) colonialization is animated by ="trms">zoonomia as phantasy='lgc'>: “when the settler seeks to describe the native fully in exact terms he constantly refers to the ="trms">bestiary”
='strcls'>*we='lgc'> = sadism's ="trms">children='strcls'>*
how ="trms">imaginary beings and ='strcls'>*fantastic ="trms">zoology='strcls'>* always carry a colonial logic
biological essentialism ='lgc'>: a d="trms"nttrm="danger,stranger">angerous and reactionary basis upon which to build a politic
...racial and colonial violence of slavery
prison='lgc'>: anti-trans necropolitical institution
='lgc'>+ its abolition='lgc'>: a critique of anti-black legal/sovereign violence and for the radical potentiality of ="trms">social tranformation
(='lgc'>=/= prison in Orange Is the New Black TV series)
='lgc'>[='strcls'>*='lgc'>]trans='lgc'>: an effect of white supremacist thinking that needs incoherent genders to make gender ="trms">matter at all='strcls'>****
='lgc'>--="ppl">="ppl">Hayward='lgc'>='lgc'>--> when trans becomes ‘this’ (an effect of gender) then it can only serve regimes of power
='lgc'>[="ppl">="ppl">Hayward's (expected and a bit cliche)='lgc'>] trans="trms">figurations='lgc'>: (cascading provocations) sug="trms">gesting ="trms">questions without answering them, to break from an ="trms">interpretive paradigm that ="trms">demands solution-making over and against problem-generating
native
a ="trms">zoological term
="ppl">Derrida's blackness (skin color)='lgc'>: unsovereign and stateless, criminal and ="trms">beast
(promise of ="trms">love ='lgc'>='lgc'>-->) relinquishing the body to ='lgc'>[='strcls'>*='lgc'>]flesh='lgc'>: pre-discoursive ="trms">material, a zone of non-personhood, a state of anjection (='lgc'><='lgc'>-- ="trms">according to ="ppl">="ppl">Hayward)
anatomo-political)
soma-politics of the body (of the racial-colonial ="trms">category of the human)
carno-political ="trms">question of flesh (under the regime of racial capitalism) ='lgc'>='lgc'>--> human/="trms">animal divide
="lsts lst1">•="trms">animals in the afterlife of slavery are rendered as flesh (under the regime carno-political regimes of racial capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list valuation) ='lgc'>[='lgc'><='lgc'>-- ="ppl">="ppl">Hayward's misrecognition of contemporary ="trms">society as “regime"='lgc'>]
genre of ="trms">animal
Gossett ='lgc'>+ ="ppl">="ppl">Hayward's argument ='lgc'>='lgc'>--> the psychic life of ="trms">zoophobia and ="trms">zoophilia are tied up with negrophobia and negrophilia ='lgc'>='lgc'>~= ="trms">species divides (human/="trms">animal) are ="trms">technologies of race (human/black)
maroon='lgc'>: escaped cattle
typography='lgc'>: domain of style, of appearance, of ="trms">aesthetic
glyph “='strcls'>*”
asterisk
a diminutive star
limb-y reach
a grasping
erring on the side of over-population, over-use, ="trms">excessiveness
“='strcls'>*” can denote a ="trms">database search or censorship
designate multiplication
a disclaimer
mark genetic identity
pseudonyms that have been changed
='strcls'>* ='lgc'>='lgc'>--> ='strcls'>*the star of life='strcls'>*
xenogenesis ='lgc'>='lgc'>--> proliferating ="trms">difference (genesis) built through pessimism (xeno)
Sun Ra (in Space is the Place ='lgc'>='lgc'>~= earth is “nowhere,” no longer a place ='lgc'>[='lgc'>+ Octavia, Delany='lgc'>]) signaled the failed projects of planetary humanist and earthly liberalism, inviting blacks living in Oakland to leave the gratuitous violence of the ="trms">world
afro-futurism is about the impossible, the unbearable, the fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of the ="trms">world ='lgc'><='lgc'>='lgc'>--> afro-pessimism (blackness as loss, as nothingness)
(mode of ="trms">imagination='lgc'>:) “anti-black racism ='lgc'>='lgc'>==> radical politics of abolition”
='lgc'>='lgc'>==> “being (white) is made possible thourgh and with black bodies cannibalized by a racial capitalism and its ="trms">scientific jaws” ='lgc'>[='lgc'><='lgc'>-- ="ppl">="ppl">Hayward's politically correct and simple fantasy about good and bad='lgc'>]
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='strcls'>*body='strcls'>* ='lgc'>='lgc'>--> ="trms">socio="trms">historical construct ='and'>& constrain
='lgc'>=/=
='strcls'>*="trms">embodiment='strcls'>* ='lgc'>='lgc'>--> sense of being bodily (pain, ...) ='lgc'>[='lgc'><='lgc'>-- my focus has been on this one more than the other='lgc'>] ='lgc'>='lgc'>--> ='strcls'>**never ="trms">embody ironically!='strcls'>** (='lgc'><='lgc'>-- maybe irony is OK in visual or ="trms">written medium='qstn'>?)
="lsts lst1">•="trms">embodiment goes beyond body (my body is still my body but also not)
="lsts lst1">•to pose
="lsts lst1">•to transpose
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in ='mywrk'>my work, i transpose='lgc'>: walk through ="trms"nttrm="already,spread">readings (='lgc'>=/= transform='lgc'>: performative “true” ="trms">embodiment)
="lsts lst1">•trans="trms">position='lgc'>: a mapping of senses, to change something into another form (='lgc'>+ its foreclosures, refusals, limits)='lgc'> = expressive ex="trms">citation, provocation of ="trms">difference that cannot be resolved by penetration or collapsed selves ='lgc'>=/= ="trms">interpenetration
border crossing='lgc'>: forces and ex="trms">citations of location, of neighborhood
sensation='lgc'>: a com="trms">posite of ="trms">affects and percepts
personal ='lgc'>=/= individual
="ppl">="ppl">Hayward's ="trms">story is shaped by repression ='lgc'>: a wish to be seen as she wants to be seen ='lgc'>=/= ="frds">Sina
="trms">story='lgc'>: act of violence and deception
medicalized legacy of transsexual's self-="trms">narrativizing ='lgc'>='lgc'>--> ="trms">synchronous field of wrong body-ness ='lgc'>='lgc'>==> account
accurate accounting ='lgc'>=/= describe ="trms">transitional sensations
described='lgc'>: forma="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listically detailed trans="trms">positional
post-="trms">animal='lgc'>: the afterward of the ="trms">animal is meat
bumptious coherence of bodies
(neighborhoods) designed to make some vulnerable while others safe
percussed by bullets or by traffic
='strcls'>*threat as invitation='strcls'>*
جراحی زیبایی who alter themselves through surgeries and hormonoes ='strcls'>*to feel themselves ="trms">differently='strcls'>*
(shia in ="nms">iran is islam after a cosmetic surgery to feel their ="trms">religion ="trms">differently)
='strcls'>*changing sex is about changing senses and ="trms">species='strcls'>* ='at'>@="frds scrmbld">Foad
depending on my needs, i pretend not to understand
="trms">instrumentalization of ="trms">animal life
surgically changing body
="trms">technique of eschew اجتناب
eschewing a ="trms">nature or culture distinction
sex in pieces
spheres of ="trms">imagination
='lgc'>[='mywrk'>my work:='lgc'>] trans="trms">historical diagnosis='lgc'>: ="trms"nttrm="already,spread">reading in pieces neighborhoods of ="trms">imagination (opposed to what is available)
='at'>#sleep-walking
web-building ="trms">beasts (spiders) ='lgc'>[webbing ='lgc'>=/=='qstn'>? weaving='lgc'>: a feminine ="trms">trope='qstn'>?='lgc'>] ='lgc'>}='lgc'>='lgc'>--> expression of the body
my fleshy referent 🕷
over-reaching subjects
='strcls'>*spider's web ='lgc'>==propose='lgc'>='lgc'>==> home and territory are of and with the body='strcls'>*
spiders are s="trms">cenes of arachnophobia and revultion
extending bodily substance through sexual ="trms">transition
(arrangment of) sensorial milieu of the self ='lgc'>+ profusion of the ="trms">world
(="trms">trope for fear as emancipation)
an ="trms"nttrm="disturban">urban designer
weaver of cityscapes
='lgc'>[='strcls'>*='lgc'>]web='lgc'>: skeletalization of the surface, extension of the surface ="trms">affects of the spider, dynamic threshold of sensibility ='lgc'>--="ppl">="ppl">Hayward='lgc'>='lgc'>--> (the body is strengthed) react through a spatial and temporal generativity ='lgc'>='lgc'>--> body='lgc'>: ="trms">inter- and ="trms">intra-th="trms"nttrm="already,spread">readings of many ="trms">sensuous vectors that relay like the spider in its web ='lgc'>='lgc'>~= cities, web-builders
='strcls'>*center of her web='lgc'> = her touch ="trms">world='strcls'>*
="prgrph">-moves quickly, even uncannily, there/then not, sill/in motion, unsettling/reassuring (seems to ="trms">trap only dust)
='strcls'>*lived-web='lgc'> = optic skin, a resounding connective tissue
(spider's capacities to) create, ="trms">syncopate, improvise
(spider and me in the appartment) we resonate in ="trms">relation to our ="trms">different movements and processes
='lgc'>[='strcls'>*='lgc'>]="trms">trap='lgc'>: a mouth, a mode of utterance, the “O” curve of lips and throat that sounds out and names the apprehension of being ="trms">embodied
='lgc'>='lgc'>--> ='strcls'>***="trms">positionality ='lgc'>='lgc'>~/= ="trms">situatedness='lgc'> = to be ="trms">trapped='strcls'>*** (to speak and receive ranges of ="trms">sensuous input from one's environment) ='lgc'>='lgc'>--> ='strcls'>*our bodies are not endlessly available to intentionality='strcls'>*
='lgc'>[='strcls'>*='lgc'>]="trms">articulation='lgc'>: speaking oneself into culture and ="trms">history, but also creating a site, a gap, making room in cultural and political fabrications, and finding a tempo, a beat
="lsts lst1">•utopic in="trms">="trms"nttrm="cluster,club">clusion (sexual, national, racial)
="lsts lst1">•='strcls'>*sexuality ="trms">imagined as political promise='strcls'>* (radical force of nonnormative sexuality) ='lgc'>[='lgc'>=/= (for ="ppl">Freud) sex is regressive='lgc'>]
="lsts lst1">•trans='lgc'>: energetic and fantastic space between objects
(racial, economic) ='strcls'>**divisions='lgc'> = dependencies='strcls'>**
(="ppl">Lyotard='lgc'>: we must) construct the anatomy of poly="trms">morphous ="trms">perversion, un="trms">fold the immense ="trms">membrane of libidinal body ='lgc'>=/= ="trms">system of parts
irreverent intimacies
thresholding='lgc'>: an intensity that must be exceeded for reaction to occur
“here is my home, i am freshly aware that my body is a threshold, an entry between rooms”
limits (of my body)='lgc'> = energized zones
sadomasochism stitches
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='strcls'>*carnal improvisation='strcls'>* ='lgc'><='lgc'>-- paradigm of performance art in europe (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to karaoke in KHM, role of my body as medium in the circuit of trans="trms">missions, ="trms">poetically ="trms">imagine the shape of a new pattern)
="trms">past="trms">present='lgc'>: an always ="trms">present pas[...]