[...] /> paying attention to nature like a child <-- Haraway

[*]trope: a verse interpolated into a liturgical text عبادات to embellish or amplify its meaning

language --> material-semiotic flesh

liturgical possibilities of nature
•Christian liturgical year
•Zaratusztrian nowruz
•star wars --?--> practice of turning tropes into worlds [--> war of imagess]
•war of words
•

(agonistic fields:)
military combat
sexual domination
security maintenance
market strategy


technical environmental design )<-- does all sorts of boundary crossing)

culturally specific apparatuses of bodily production (--> clean and dirt --> forms of embodiment)

writing: to create metaphors [= reconstitue what counts as knowledge] --> materially implode (~ art, this is what we were practicing in my fable workshop)

technology: a form of life
language: a form of life

create a critique
create a difference (however small, partial, modest, without narrative, without guarantee)

oneiros
oneiric


technical axis  |__
                        /   mythical axis
    textual axis


a cosmos furnished in _ian style
•Aristotelian style: actors are self-moving modular single-substance subjects with adhering accidents ==Haraway==> all else is ground, resource, matrix, screen, secret to be revealed, fair game to be hunted by the hero (<-- our video games are designed in this style)
•

others with reduced powers of self-direction: women, people of color, the sick, nonhuman nature --> need to be *patient*

(metaphysical fatigue)

***patience =/= passivity***

self-invisible transcendent subjects out on a noble journey to report on embodied nature

the problem of (pre-discursive:) believing that nature and society are really fundamentally there
--> conjuring tricks of establishing categorical purity (of nature, of culture, of nonhuman, of human)


(Haraway's three webs of discourse:)
1. cultural studies: a set of discourses about the (irreducible specificity of) apparatus of bodily/cultural production (=/= comparative culture studies)
2. feminist theory/project: view from the marked bodies (in stories, discourses, practices), where *the description of the situation is never self-evident* + need for an elsewhere
3. science studies: technologies for establishing matters of facts, ‘technoscience =/= science and technology’, artifacts with politics, science as practice + culture


can't cradle
one person can build up a large repertoire of string figures on a single pair of hands --> the figures can be passed back and forth on the hands of several players
--> *embodied analytical skils* [<-- my goal im apass]
--> making + passing on cultural interesting patterns
=/= making a tangled mess
=/= theory of everything (--> for example string theory, stc.)
=/= war game ==>{models of knowledge building, tropes for one's own practice}
=/= trials of strength passing as critical theory (~ heroic, agonistic encounters)

...................................

Delamont & Williams --> (Haraway's) thread metaphor ~= *metamethod*

(from) [analytical] tangled yarn ball --to--> [activist] can't cradle

Galison's intercalation [molecular interweaving] --> exposing an overt technology (the radar wants to be seen as both winner of war + advancing pure physics)
~/=
Haraway's weaving [textile dissection] --> exposing a covert technology (patriarchy, eugenics, colonialism, racism embedded behind the public face of conservation, education, biopolitical establishment)

biology = politics (by other means)

cyborg
•has no original eden it was banished from
•has no dust it can return to
==Haraway==> situated partial knowledges


gendering the laboratory ==>
•modest witness
•new forms of gender (male virility,)


touching the elephant and knowing
touching different part of the world
touching a human body and guessing at the riddle

by touching the different parts => some are running, rotting, flickering, etc.

for doing anatomy you need a corpse (that means you already rule out things such as eating)

archeological anthropology
human-animal stories
hunting each other / together
domestication

Tsing

the greedy beast within us

collaborative garden (feed together)

descriptive practices of poetics and natural history


mission of all atlases to characterize (not simply inventory) phenomena
(to characterize, not invent; mixed in ajayebnameh عجایب‌المخلوقات / عجایب نامه?!)

atlases habituate the eye, they are perforce visual
(what ajayebnameh habituates? not the eye?)

to explicate rival cosmologies

one problem of atlases is that they have to decide what nature is
they all have to solve the problem of choice


atlases of characteristic images presented individual cases as exemplary and illustrative of broader classes and casual processes (but not ajayebnameh عجایب نامه, aj bring precise individual instances in its unique stories)


atlas(es) of(/for) the eye

...................................

[the identity of objects:]

Manuel Delanda: Any materialist philosophy must take as its point of departure the existence of a material world that is independent of our minds. But then it confronts the problem of the origin of the enduring identity of the inhabitants of that world: if the mind is not what gives identity to mountains and rivers, plants and animals, then what does? An old answer is “essences,” the answer given by Aristotle. But if one rejects essentialism then there is no choice but to answer the question like this: all objective entities are products of a historical process, that is, their identity is synthesized or produced as part of cosmological, geological, biological, or social history. This need for a concept of “synthesis” or of “production” is what attracted Marx to Hegelian dialectics since it provided him with a model of synthesis: a conflict of opposites or the negation of the negation. Deleuze and Guattari, on the other hand, replace that model of synthesis with what they call a “double articulation”: first, the raw materials that will make up a new entity must be selected and pre-processed; second, they must be consolidated into a whole with properties of its own. A rock like limestone or sandstone, for example, is first articulated though a process of sedimentation (the slow gathering and sorting of the pebbles that are the component parts of the rock). Then it is articulated a second time as the accumulated sediment is glued together by a process of cementation. They use Hjemslev's terms “content” and “expression” as the names for the two articulations, but this is not meant to suggest that the articulations are in any way linguistic in origin. On the contrary: the sounds, words, and grammatical patterns of a language are materials that accumulate or sediment historically, then they are consolidated by another process, like the standardization of a dialect by a Royal Academy and its official dictionaries, grammars, and rules of pronunciation.

(synthetic =/=? analytic; [a problematic distinction!] the logical particle “un-” in “no unmarried man is married”) (analytic =/=? contingent)
(Kantian?!) ‘a priori and synthetic’ ==> ‘a posteriori analytic’

[singular entities:]

The question of the “individuation of trajectories” is about mathematical models (which to me are the secret of the success of science) but you are correct that it goes beyond that. All entities synthesized historically are individual entities: individual plants and animals; individual species and ecosystems; individual mountains, planets, solar systems, et cetera. Here “individual” means simply “singular or unique,” that is, not a particular member of a general category, but a unique entity that may compose larger individual entities through a relation of part-to-whole, like individual pebbles composing a larger individual rock. A materialist ontology of individual entities is implicit in Deleuze and Guattari and Braudel, so we must give them credit for that, then move on and invent the[...]