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[...]ientific jaws” [<-- Hayward's politically correct and simple fantasy about good and bad]

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*body* --> sociohistorical construct & constrain
=/=
*embodiment* --> sense of being bodily (pain, ...) [<-- my focus has been on this one more than the other] --> **never embody ironically!** (<-- maybe irony is OK in visual or written medium?)
embodiment goes beyond body (my body is still my body but also not)

to pose
to transpose

in my work, i transpose: walk through readings (=/= transform: performative “true” embodiment)
transposition: a mapping of senses, to change something into another form (+ its foreclosures, refusals, limits) = expressive excitation, provocation of difference that cannot be resolved by penetration or collapsed selves =/= interpenetration

border crossing: forces and excitations of location, of neighborhood

sensation: a composite of affects and percepts

personal =/= individual

Hayward's story is shaped by repression : a wish to be seen as she wants to be seen =/= Sina

story: act of violence and deception

medicalized legacy of transsexual's self-narrativizing --> synchronous field of wrong body-ness ==> account

accurate accounting =/= describe transitional sensations

described: formalistically detailed transpositional

post-animal: the afterward of the animal is meat


bumptious coherence of bodies

(neighborhoods) designed to make some vulnerable while others safe
percussed by bullets or by traffic
*threat as invitation*

جراحی زیبایی who alter themselves through surgeries and hormonoes *to feel themselves differently*
(shia in iran is islam after a cosmetic surgery to feel their religion differently)

*changing sex is about changing senses and species* @Foad


depending on my needs, i pretend not to understand

instrumentalization of animal life
surgically changing body


technique of eschew اجتناب
eschewing a nature or culture distinction


sex in pieces
spheres of imagination


[my work:] transhistorical diagnosis: reading in pieces neighborhoods of imagination (opposed to what is available)
#sleep-walking


web-building beasts (spiders) [webbing =/=? weaving: a feminine trope?] }--> expression of the body
my fleshy referent 🕷
over-reaching subjects
*spider's web ==propose==> home and territory are of and with the body*
spiders are scenes of arachnophobia and revultion
extending bodily substance through sexual transition
(arrangment of) sensorial milieu of the self + profusion of the world
(trope for fear as emancipation)
an urban designer
weaver of cityscapes
[*]web: skeletalization of the surface, extension of the surface affects of the spider, dynamic threshold of sensibility --Hayward--> (the body is strengthed) react through a spatial and temporal generativity --> body: inter- and intra-threadings of many sensuous vectors that relay like the spider in its web ~= cities, web-builders
*center of her web = her touch world*
-moves quickly, even uncannily, there/then not, sill/in motion, unsettling/reassuring (seems to trap only dust)
*lived-web = optic skin, a resounding connective tissue
(spider's capacities to) create, syncopate, improvise
(spider and me in the appartment) we resonate in relation to our different movements and processes

[*]trap: a mouth, a mode of utterance, the “O” curve of lips and throat that sounds out and names the apprehension of being embodied
--> ***positionality ~/= situatedness = to be trapped*** (to speak and receive ranges of sensuous input from one's environment) --> *our bodies are not endlessly available to intentionality*

[*]articulation: speaking oneself into culture and history, but also creating a site, a gap, making room in cultural and political fabrications, and finding a tempo, a beat


utopic inclusion (sexual, national, racial)
*sexuality imagined as political promise* (radical force of nonnormative sexuality) [=/= (for Freud) sex is regressive]
trans: energetic and fantastic space between objects

(racial, economic) **divisions = dependencies**

(Lyotard: we must) construct the anatomy of polymorphous perversion, unfold the immense membrane of libidinal body =/= system of parts

irreverent intimacies


thresholding: 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) = energized zones


sadomasochism stitches


*carnal improvisation* <-- paradigm of performance art in europe (---> go to karaoke in KHM, role of my body as medium in the circuit of transmissions, poetically imagine the shape of a new pattern)


pastpresent: an always present past in the present

*patterns longer than lived experience*

[*]history: libidinal tracings, erotogenic intensities, psychical cartographies


{ porosity = poiesis }--> collapse the boundary between the embodied self + its world + others ==> consitute a specific place


puberty = the fantasy that this disfiguration will make me more myself
teenager = you spend hours before the refracting reflection of your transmutating *body = your most intimate other* --> enact boundaries, sometimes lovingly, but also brutally


(senses are) reactive to the sensual abundance of the world but limited by affected perceptual milieus


[*]texture: residue of unmetabolized and metabolized sensations of animate forces --> emergence of bodiliness (<-- Hayward's rhetoric)

transitional body = textural body

architecture: the most binding part of the communal rhythm

appearance ~= metonymic
appearance allows her to emerge situationally as a woman, a gendered neighbor, a historical subject


(being under the influence of the moon:) enfleshing elements of your (celestial) environment within yourself and expressing parts of yourself back into the (terrestrial social) environment


identification: “i am like you = i know you” ==> resolve the divide of difference

(let's not make that kind of garden again -->) inclusion in Adam's nameable Eden of belonging (=/= Cinderella's transbestiary)

cross-species rejoiners
mended spiderwebs


Eocene mammalian selves self minor celestial impact world now time species storytelling [source: Esther van Hulsen] error is (still a kind of) expression


human: composites of zoo-intensities, animated movements, bio-differentials


(i always felt like this) my perceptions are refracted through psychic forces
anxious
uncertain
paranoid
“is everyone staring at the morphing ‘it’ that is me”


(understanding of art in contemporary european performance -->) art = intensifying bodily substance, to resonate otherwise, to feel different corpo(realities) through zones of transition and intervention, provocation = responses to our *capacities to resonate*


...medicalization, recognition, subjectification, instrumentalization, and responsiveness being with animals

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what does the maze mean for the rat?
what a maze can mean?

experimental psychology --> subjects conform most often to the expectations of their experimenters [--Despret--> they are *artifactual*]
-*the scientists think that the subject respond to the question that is posed to them, but the subject in fact respond to another question* -->{question that is addressed to them = protocol to which they are submitted}--> they can take a position in relation to what is proposed to them in scientific research [=/= Cinderella's mice subject]

the idea that (the assumption that) their subjects could be influenced by what the scientist was looking for ==> the experimenters tried most often to camouflage the real questions guiding their research
-the assumption that the subjects do not do what they do because the experimenter asked then to do so, but for more abstract and more general reasons ==>ecological validity”
-*the subjects most of the time not only predict what the [...]