[...]archus, Ptolemy:) *the science of coordination of human space in relation with the celectial configuration and movements* [--> Olearius]
}==> Earth [considered as a whole]: (stable support for the) *فراز و نشيب vicissitude of history* --> ‘terrestrial space + its configurations’ : object of geographical, geological, sociological, biological knowledge
(Humboldt) applied a whole system of barometric, thermometric in his investigation. *division of plants* according to different climates ==> “botanical geography” & “zoological geography”

history of the Weltanschauung

*****how Humboldt (and Ritter, [even Simondon does that too]) apply the *category of totality* to their object --> the relations between historical man and the environment ==> *determination of historical relationships*

the relations between the geographical environment and man ==> a spirit
(-->) *doing history*: reading a map, understanding by map the representation of a set of metrical, geodesic, geological, climatological, and descriptive biogeographical data


Loeb + Watson (phototropism in animals):
every movement of the organism in the environment = a movement into which the environment forces the organism ==> **animal = reflex** <-->{Darwinism + Cartesianism ==> behaviorist psychology*}
(Watson:) [*]psychology: program of the analytical investigation of the ‘stimulus-response couple'[= conditions of the living being's adaptation to the environment through the experimental production of relations between stimulation and response] (<-- one of physical determinism) ==> consciousness nullified as illusory
(the living being's situation:) “its being = a conditioning” (--> as artists we still have to deal with this idea or image, it is about the reality the artist receives and what they make of it)


process of reduction:
(ajayeb --to-->) biology --to--> behavior --to--> neurology --to--> energetics (--to--> electronics)

the perfect work of behaviorist psychology: construct man as a machine reacting to machines

Condillac's fable of the statue: in the rose's perfume, the statue is the rose's perfume ==> living organism = respond to sensory stimulation (the physical mileu, light and heat, carbon and oxygen, calcium and gravity)

(Canguilhem asking) where is the living being? <-- Kohn

==> subjects “taking action” =/= objects “in movement”

we see individuals --but--> these are objects
we see centers --but--> these are environments
we see machinists --but--> these are machines

environment of behavior --coincides-with--> geographical environment --coincides-with--> physical environment


“in a human environment, man is obviously subject to a form of determinism, but it is the determinism of artificial creations in which the spirit of in[...]

[...]act within an unstable locus of historicity* (specific historical conditions) [--> a european model of conviviality]
<== modern globalism --> reinventing of the new common culture /humanism [<==> coalescence: meeting, intermingling of different people and species and cultures and goods --> could be damaging and unintentional, hurting the world: decay, emergent, atrophy, new identities, crisis in language, confusing boundaries, challenges of life,,,]

(origins of bad feeling -->) looking at:
•damaged bodies
•damaged subjectivities
•damaged communities
•damaged relations ==> Udyr monster
•damaged ecologies
•damaged histories ==> insomnia
•

(@Jassem and Mia) is there (only) death at the end of entropy?
sequence of events from the point of view of plague narrative
extermination + determination, laws of identity, repetition

the material despair of a colonial capital modern condition leading in high speed to the entropy of cultural-individual ethics, under the overwhelming weight of tangible misery --(Jassem and Mia)--> cognize the immediate material urgency of the endangered subjectivity



--faceless--
nonanimal --> nonhuman + nonanimal ==> destabilizing effects
with their flexible plasticity, has an issue with appearance --> subjectivity's disassociation from the world
[in no (or which) calculus of assurance are they moving?]


ruined main body (of the performance)
ruin is (a fictional being) adding additional variety to technical being (frontier technologies) of Norway
-obsolescence (and why not adjustment? =/= extremist position ==> to emerge fanatically from the ruins)--(can we use our imagination not for world scale future speculation, and rather for small adjustment of this space?)
-give expression and meaning to the material culture


--landscape--
using it in the performance: a lens that refuses the abstraction of elements relation in a vacuum (as its optics, not a Blickmaschin)
show us: big stories take their form from seemingly minor contingencies, asymmetrical encounters, and moments of indeterminacy

(with “stranger within” [=? ‘desire within']) are we at the space of complain? <-- dispositions of Beschwerde
a form of protest --> (disenfranchized language of) *mutated rage* --> always innocent ==> agent of delivery
(protest part of) the proud and brutal history of break-out syntax of civic responsibility (=/= adjustment)

rage & ecstasy

ruin --> doom --> rage --> innocence --> delivery: performance


--ruin--
we can and should ***navigate the ruin***
(navigate =/= asset-production)
-capitalist (owning the rhetoric of progress) telling us / teach us to ignore ruins (in the making)
-is there life in ru[...]

[...]imself

grounded Levy-Bruhl's science in the real <== he rejected a focus on a knowable singular subject in favor of a science based on the ability to detect and interpret the invisible forces that worked to produce a particular “mentality” [of the artist in the case of bad feedback]
(Levy-Bruhl's mistake:) systematic interrogation and illumination of mobile invisible forces that produced beings wholly unlike us =/={ method of sympathetic association --> participant observation: the felicity of evidence produced through the qualitative experiential methodological instruments [--> comes to define the modes of critical relatedness in apass]


(since 15th century) investigators ==> staking one's claim to the real on the mastery of those forces that relentlessly elude a plain direct visibility or sensibility ~~--> human sciences


*we still hunt ghosts, fueled by a desire operationalized in a method of being close enough to something to sense it, because our form of mastery demands a closeness to things unseen, unprovable, indeed ‘nonsensical,’ yet unquestionably ‘there’* -Baxstrom

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

Despret on Derrida's animal
the act of being seen by an animal ==> Derrida groups together on the end hand “scientists and philosophers =/= prophets and poets”
{ Bateson, Goodall, Bekoff, Smuts, and many others have met the gaze of the living diverse animals and in response undone an redone themselves & their sciences =/= Derrida }--Haraway--> why did Derrida leave unexamined the practices of communication outside the writing technologies he did know how talk about? ==> philosopher (speak in the absence of animal) =/= theoreticians (speak face to face with the animal) =/= scientists
•Derrida's original positioning: to speak (starting) from [~ a partir de] a real animal and not about animality [being animal] : to speak in the animal's presence and not in its absence --> this [this way of talking about animal is against his philosophical tradition] is not particularly original, it is part of the very game of philosophy: *to fight with ancestors and contemporaries [~=? recalcitrance تمرد tamarod] about great and noble ideas* (to denounce inequality and violence)

maintaining distance is a characteristic of the episteme of the French philosophical tradition

the topic of animal in French tradition:
•the animal can be a topic of philosophy if it is called up as a figure of otherness (or a figure of deprivation) [--> is that why i started to work and think about animal fables after i moved to germany? because i became identifiable as deprived other? and reading about the naming and denunciation of philosophical violence towards the animal became a proxy for philosophical violence towards myself as a foreigner?]
•animal as ancient ancestor (a search for difference with appeal)[...]

[...]ir de] a real animal and not about animality [being animal] : to speak in the animal's presence and not in its absence --> this [this way of talking about animal is against his philosophical tradition] is not particularly original, it is part of the very game of philosophy: *to fight with ancestors and contemporaries [~=? recalcitrance تمرد tamarod] about great and noble ideas* (to denounce inequality and violence)

maintaining distance is a characteristic of the episteme of the French philosophical tradition

the topic of animal in French tradition:
•the animal can be a topic of philosophy if it is called up as a figure of otherness (or a figure of deprivation) [--> is that why i started to work and think about animal fables after i moved to germany? because i became identifiable as deprived other? and reading about the naming and denunciation of philosophical violence towards the animal became a proxy for philosophical violence towards myself as a foreigner?]
•animal as ancient ancestor (a search for difference with appeal)
•
}--> **as a figure caught up in theoretical and abstract issues** (a philosophical animal) --> animots: paper animals, abstract inexistent animals
=/= Derrida taking up the topic of the animal ==> to oppose a certain humanist hegemony, denouncing philosophical violence towards the animal
•Derrida's rejection of philosophical game par excellence (the game that deals with representations, framework of representation)



♥ the parable of the twelfth camel
An old man, sensing his impending death, called to his side his three sons, to share with them the little he still owned. He said to them: my sons, I have eleven camels. I bequeath half of them to the oldest, a quarter to the second son, and to you, my youngest, I give a sixth. Upon the father's death, the sons found themselves quite perplexed: how to divide their inheritance? A war over the division of goods seemed inevitable. With no apparent solution, the sons went to a neighbouring village to seek advice from an old sage. The old man thought awhile and then shook his head: I cannot resolve this problem. The only thing I can do for you is to give you my old camel. He is not very obedient and often does as he pleases. I don't know if you can use him but I think he may help you divide your inheritance. The sons brought the old camel back with them and divided up the inheritance: the first then received six camels, the second three and the youngest two. This then left the camel of the old sage, which they could return to his owner.

        ,     ,
‘'’ ‘'’   ‘'’   ‘’

this parable reveals particular and essential dimension of all forms of inheritance:
•[Despret:] they place us in a position of obligation --> to work out
•[Sina:] they had to go to the foreign to figure out their inheritance


the sons[...]

[...]which we speak, think, or act [~ learn from & create from events]
•“being obligated” implies learning to do, speak, act, decide, not about these events, not concerning them, not facing or against them, but from them
==> you are bound : *you honor the terms of the problem* (such as it is posed along with its contradictions ~ fubar)
==> (help you to) resist the common sense (or less common sense) solutions


[*]inheriting: an act that demands thought and commitment, an act that calls for our transformation by the very gift of inheriting --> my work on ajayeb, you start from ajayeb (better than “coughing”?)


Despert in reading Derrida through Haraway --> studying the way in which scientists were beginning to respond to their animals & becoming attentive to the animals’ responses in trun

[Sina + Despret + Haraway] ***to inherit is an act that demands a transformation on the part of the inheritor***

the importance of transforming that which is transmitted to us


thinking from animals
(Despret working on) the meaning of ”(starting) from” [a partir de]
•for philosophers: to depart from animals, to leave them as quickly as possible and never to return ==> “animal = text & pretext” : its function is to provide a reason for going (partir) elsewhere [<-- i have done this]


getting involved --to--> martyrdom


author-turned-ethologist --> classic genres of ethological literature

(a matter of) *performing through narration the passing obligation that is now mine*

(Latourian) *amateur: a person who likes and cultivates her tastes and does her best to cultivate a kind of becoming-sensitive to the world*

in ethology (and in animal sciences) monologues make terrible narratives

[@Femke, @Pierre, ?can we do without] the philosophical tradition of: **searching for traor traces of ideological and political contamination** in the work of scientific naturalist (or whatever other field) --> you (often) find a perfect target for this sort of critique
•(pay attention to) what makes a perfect target for your sort of critique (@Laura's Jane Fonda, etc.)

[zoological bird:] sociobiological literature prepares you to accept a certain kind of fact about this bird =/= Zahavi's babblers however do (altruism & cooperation) in a remarkably more inventive and diversified way and for entirely different reasons that sociobiological birds

anthropocentrism (credit birds with complex intentions, and [why?] complex intentions always seem human)
to see birds as “dancing” and for fairly complex reasons could only have been a result of the fact that the observers projected onto the animals their own frameworks and experiences


Despret observing the birds + their ethologist --> the birds made Zahavi interesti[...]

[...]ively dense
rendered literal and material
light is of this world

to think diffractively = to apprehend a critical difference within

(the formation of a word from a sound associated with what is named -->) onomatopoetic: designed around the sensation of water

Hayward is drawn (to the Monterey Bay aquarium) ==> trying to sort out the poetics of their display
[they] furnish a simulation of the real thing, soliciting the sensation of unmediated encounter with marine worlds, they *act as sites of ecological hope* --Acampora--> *zooscopic: a totalizing view that conceals meaningful human-animal encounters at the price of reinvigorating anthropocentrism {=/=? zoological vandalism --> what would be an animal social media?}
[in zooscopic experience:] the very structure of the human-animal encounter is disrupted, and the interaction that is sought (encountering the animal) becomes impossibility as the “real” animals disappear and the conditions for seeings are undermined [<-- how telegram does that? if telegram animal media is zooscopic, then i say that is good for Tehran, for the “real” encounters are violent. the idea of “truely seeing animal” is metaphysics]

captivity ==> animal against themselves, “animal = qualified noun, adjectival” [=/= *ajayeb's wilderness* was articulated in a time before the modern zoo]
--Acampora--> zone of species contact mediated by an interruption that voids actual encounter
--✕--> Sina: there has never been an “actual encounter”
--✕--> Hayward: does face-to-face “seeing” matter for organisms of a radically different scale and for whom “eyes” are light receptors rather than picture makers?

-how can we see mediation as a dynamic of encounter, even an ethical one?
(captivity is always mediated)


captivity diffracted


*(telegram's) [*]encounter: sensuous rapport or energetic cadence*<br />

aquariums engage a story of looking + deep roots in imperialism and the process of nation building --> aquarium: a stage of an unspoiled garden in nature, بوته hearth for learning human self from animal other + (clarification of) ontological and epistemological disorders of nature and culture [=/= Tsing's contaminated landscapes]
-18th century: the ocean was taboo, a place of great fear, a cursed world full of monsters lurking in shadowy fathoms, (waters: low and deep =/= air: domain of morality and aspiration, closer to heaven)
-19th century europe victorian glass *aqua vivarium* --> windows that interfaced between human sight and subaqueous scenes (the unknown provoked feelings of bot curiosity and apprehension)--Stott--> for the naturalist the marine or freshwater aquarium provided a constantly changing, glass-fronted theater of bizarre and exotic bodies, moving, metamorphosing, interacting and breeding in sensational ways
-aquariums b[...]

[...]ical one?
(captivity is always mediated)


captivity diffracted


*(telegram's) [*]encounter: sensuous rapport or energetic cadence*


aquariums engage a story of looking + deep roots in imperialism and the process of nation building --> aquarium: a stage of an unspoiled garden in nature, بوته hearth for learning human self from animal other + (clarification of) ontological and epistemological disorders of nature and culture [=/= Tsing's contaminated landscapes]
-18th century: the ocean was taboo, a place of great fear, a cursed world full of monsters lurking in shadowy fathoms, (waters: low and deep =/= air: domain of morality and aspiration, closer to heaven)
-19th century europe victorian glass *aqua vivarium* --> windows that interfaced between human sight and subaqueous scenes (the unknown provoked feelings of bot curiosity and apprehension)--Stott--> for the naturalist the marine or freshwater aquarium provided a constantly changing, glass-fronted theater of bizarre and exotic bodies, moving, metamorphosing, interacting and breeding in sensational ways
-aquariums became sacred spaces where cohabited forces of godliness and nature were contained, compartmentalized, and studied --> animal = metonymic of particularly nonhuman environments --> victorian sensibilities

(Darwinan trope...) monstrously minute, potent and parasitic, characterized by missing body parts

efforts to know, classify, and conquer the oceanic (--> capture for visual pleasure) ==> counter-conquest of the home by monsters and sexual deviants

the most prized organisms were “exotics” from non-european environments that fueled ongoing colonialism in the mode of animal husbandry


Hayward:
differences in display technologies
variations in viewer experience and perception
alterations in cross-species encounters
aquarium's promise of immediacy(?)

the rhetoric of animal domination is not the only discourse at work (in aquarium display, telegram, in ajayeb, in zoo, etc.)

Hayward's attention to the expressiveness of sensation, display technologies, and the animals themselves =/=? my attention to telegram animal media

(modern) aquarium: turning toward the monstrous oceanic but updated for a technoscientific postmodernity and anticipating a sci-fi futurity


exhibits as idealizations
the aquarium visitor is entertained into caring about environmental ethics and marine biology. enacting a moral imperative to protect local ecosystems, the aquarium is a savoir --> the parochial becomes the new cosmopolitan

technology + artistry + biology

playing with scale, volume, space
refractive technology:
•produces the visceral and optical experience of immersion...
•makes us profoundly aware of our[...]

[...]propriation

**one's heritage is something constructed, and it is constantly transforming itself retroactively** بازگشتی --> it makes us capable of responding and that we in fact respond to our heritage =/= simply carrying on a tradition

***things are inherited, but we become ourselves in carrying out the gesture of inheriting***

(Harawayian) re-member: enact the past, collect and compose ~/= (Despretian) to inherit: giving oneself an account of a certain task, which is more than just remembering
[storymaking] *to make a story = to reconstruct, to fabulate, to offer other presents and futures to the past* [~/= Sina: to fabulate = to give other pasts to the present and future]


how to ask the question of work properly?
you have to consider animals as other than victims, natural and cultural idiots that *need to be liberated* despite themselves --> ‘liberating the world of animals' = 'freeing the human world of the presence of animals’ [---> go to fabulation of animal human in the movie How to Train Your Dragon: The Hidden World]
=/= telegram's animals

*humans and animals must (not just considered together but) always be imagined together*

ceasing to consider “animal = victim” ==> (?how in telegram media) animals involve themselves (since they are not natural and cultural idiots), just as human (breeders) are not “exploiting,” but giving, receiving, exchanging, raising, and growing with, their animals


when Despret is putting the question of “do animals work?” to breeders, it is a real experiment : to explore the researcher's propositions with the breeders --> to make them hesitate (~ is about *what does it mean to speculate in such a way?*) [=/= means of knowing through information (to gather data or opinions) : “what do breeders think of X?"]


Despret’ amazing rigour --> the only place that the question (considering whether animals do work) can be brought forward is the place where only the meaning associated with exploitation can matter (in places where both humans and animals are greatly mistreated)
-place where the evidence of such work is found, are places where animals are industrially “produced” --> their behaviours appear very definitely as belonging to a work relationship


director of animal resources --> (in such frame) animal: occupy the place of an obscure underclass, malleable, serviceable, and disposable in the end

moder feeder operations --Porcher--> animals sometimes wanted to help

asking the breeders: could you help us learn how to ask our question so that it has a chance of making sense to other people? ==> they also could explore the *manner in which we were obligated to formulate our questions*


(Harawayiean) responsibility: a relationship crafted into intra-action through which entities, su[...]

[...]each other --> they respond to each other through the consequences of their action & their responses are part of the consequences (=/= act based on shared assumptions)

{being a victim ==imply==> passivity + all its consequences}--> *animal is not a victim* [because:]
•saying “animal = victim” =/= (Despret's) mode of being engaged in question
•(don't forget that) ***تقصیرپذیری culpability is easier to tolerate than responsiblity مسئولیتپذیری*** (because responsibility prevents the question from being closed)
•***a victim does not invite curiosity*** <-- curiosity is essential in relations in which two beings learn to look and to look back (Despret + Haraway)

victim =/= (Despret’ animal, Sina's Cinderella) more alive, more present, they invite more question --> they get the chance to become interesting
•a Cinderella who does her job engages us in a totally different manner than a Cinderella who is the victim of the authority of her evil mother and wicked sisters


(from a clinical standpoint + in human terms) [*]work: gestures, know-how, the involvement of the body and the intelligence, the ability to analyze, interpret and react to situations:
•work transforms the world
•work objectifies intelligence
•work produces subjectivity

work, not only has to do with economic rationality, but participate in other forms of rationality, in relation to:
•identities
•in relationship to God
•obligation and cures
•obedience to Nature or mastering it
•moral rationality --> (Marx's) work: definitve form of expressing their life (a mode of life, Dejours: assertion of their existence)

‘work = a source of recognition’ ==> work =
•a source of pleasure
•a practice in the construction of our identities
•a judgment about beauty (of something being well done that *relies upon the r[...]

[...]er


what a maze can mean? --Despret--> **translating what happens to rats in terms of meaning**
(drawing on Uexküll's theory of Umwelt) --> open up for the animal the question of point of view

a concrete or lived Umwelt ==> the animal endowed with sensory organs different from our own, cannot perceive the same world as we do

{**perception: an act of creation =/= a form of reception**}--> the animal **fills its environment with perceptual objects**, it constructs its environment by *peopling* it with perceptual objects (=/= perceive passively)
*the activity of perception = an activity that confers meaning* = only that which has meaning is perceived, only that which can be perceived (~= is important of the organism) is *accorded a meaning* (~= accordance)
•butterfly lives in a world of luminous intensities and of odors
•tick lives in a world of butyric acid released by the sebaceous follicles of mammals
◾spider lives in a world of...
•rat lives in a world of...
•

for a spider?
for a rat?
time, space, place, path, way, house, odor, enemy,,, --> each event (in the perceived world) “signified” which is not perceived except in that it signifies ==> ***animal = subject = a “lender” of meaning***

[*]subject: that which accords meaning

the object is constituted in action (the animal never enters into a relation with an object as such) --> meaning does not emerge from the object = objects are not alone in having meaning accorded to them

Umwelt: an environment of relations

no animal can be neutral of another (in the environment) <--if-- it can be seen to be accorded a meaning

***strange lures ==make=possible==> types of research***

Cinderella to the mice : alluring producer of sociality (lure: enticement for meaning) <== *lures are frequently required in order to conve convey the meanings of an animal*

a human can take on the meaning of *socius* (comrade, friend, ally)
a human can learn what a socius means in the like of a jackdaw (to be taken for a material socius)
--> ‘associating with' = carry out various activities together

you want to be taken by somebody from another species for a material socius (that is also why people have pets) =/= pray


meanings are not fixed once and for all, flowing from elementary needs of the organism: meanings are flexible, can apply to other beings, extend to unforseen situations, change, and even invent and create new relational uses (<-- this is what i experience in translational working with meanings in farsi literate in my lectures)


(Cinderella asking) when observing rats, what can produce the activity of translating their behaviors in terms of meanings?


one confuses the term “examine” with that of “ne[...]

[...]he flesh


transgenic technologies ==>
jellyfish + GFP (green fluorescent protein)
rhesus monkey
glowing kittens
transgenic pigs
(...animal examples of chimeric and impure)--Hayward--> articulation of carnal interdependence across species boundaries

bacteria, yeast, fungi, plant, fly, human cell

chimeric borderlands of GFP and transgenics
pushing against the perceptual and affective registers of laboratory walls embodied selves, eating practices, living conditions

bio-capitalism
animal industry

(Hayward on) carnality and radiance of naturecultures
(welcoming a) multidisciplinary table of where light is being eaten


visuality as corporality
light = meat

(Latin word) lumen: light, lantern, lamp, clairity, understanding, the central cavity of a hollow structure in an organism or cell

*somalumenal: how might luminosity, effulgence and illumination be about embodiment or corporality? light transubstantiated into flesh and matter (=/= body transcended by the thrills of enlightenment and radiance)*


(my work on telegram bestiary:) *post-animal studies*

[*]tranimal: a synecdochically imagined correspondence written as a portmanteau word --> changes in our understanding of bodily transformation, somatic and sensual synthesis that manifests synecdochically (a figure of speech in which a part is used for the whole or the whole for a part) =/= metaphorically
[Cinderella is synecdochic]

*trans-
ongoing labor of cross-species agents
energetic and material crossings that disrupt bifurcated categories

(Haraway + Hayward) metaplasm قلب حروف: a change in a word (by adding, comitting or transposing its letters, syllables or sounds) that can signify a mistake, stumbling, a troping that makes a difference [in joined natureculture --Haraway--> flesh and signifier, bodies and words, stories and worlds]
to inflect tranimals with its tropic kin of antimeria that turns nouns into verbs, that mobilizes, incites, activates persons, animals, places, things and ideas

*i am rubied by your attention* : the relay of energies and forces (not just encounter) ==constitute==> ontology

[*]ontology: what there is + what debts we owe to it --> we owe ‘sensation’ to life's ‘insistencies’ : (Hayward arguing) we must respond to *life's insistencies* through sensation (corporal prehensions)
--(?why to write:)--> **noun = transitional responses to relationships** (=/= direct products of environment)
==?==> percussive distribution of affect

boundary: refracted interfaces of passage, prepositional orientation
sensuous being: unmetabolizable more, the residue of passing

jellyfish sting story
“a jellyfish stings human skin[...]

[...]
*humans and animals must (not just considered together but) always be imagined together*

ceasing to consider “animal = victim” ==> (?how in telegram media) animals involve themselves (since they are not natural and cultural idiots), just as human (breeders) are not “exploiting,” but giving, receiving, exchanging, raising, and growing with, their animals


when Despret is putting the question of “do animals work?” to breeders, it is a real experiment : to explore the researcher's propositions with the breeders --> to make them hesitate (~ is about *what does it mean to speculate in such a way?*) [=/= means of knowing through information (to gather data or opinions) : “what do breeders think of X?"]


Despret’ amazing rigour --> the only place that the question (considering whether animals do work) can be brought forward is the place where only the meaning associated with exploitation can matter (in places where both humans and animals are greatly mistreated)
-place where the evidence of such work is found, are places where animals are industrially “produced” --> their behaviours appear very definitely as belonging to a work relationship


director of animal resources --> (in such frame) animal: occupy the place of an obscure underclass, malleable, serviceable, and disposable in the end

moder feeder operations --Porcher--> animals sometimes wanted to help

asking the breeders: could you help us learn how to ask our question so that it has a chance of making sense to other people? ==> they also could explore the *manner in which we were obligated to formulate our questions*


(Harawayiean) responsibility: a relationship crafted into intra-action through which entities, subjects, and objects, come into being

lead cow (the one who trusts the breeder, and one the herd trusts, usually is in the front) =/= dominant cow (in the hierarchy of the herd, is found in the middle of the herd)

a theme in animal technicians
paying attention to animals = being able to feel the limits that animals ask us to take into account (more than questions of well-being)


[many times] *work often leaves no evidence behind* (=/= publishing)
@apass


ethology ==teaches==> certain questions cannot be answered unless one constructs concrete conditions beforehand --> those that allow the questions to be asked + those that render those who ask capable of discerning the answer, capable of grasping it when it emerges

peace-maintaining gestures of the cows

why the work of the cows was invisible?
*because work only becomes perceptible when the cows resist* (when they place limit on what can happen) --shows--> when everything goes correctly it is because of an active investment on the part of the cows
***when everything hap[...]

[...]e 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[...]

[...]ment* --> 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 sensibi[...]

[...] experimental dispositive* is not the same since it is set within a provisional and short time (five days if testing, corresponding to the work week) while *the time of the farm* is a time of accumulated memories and experience
-the memory of the food eaten before
#Cinderella

it expects something else <== what one gives it is not the sole cause involved


animals certainly respond to a question, but it is not the one we pose to them
*the researchers compartmentalize the research; the animals to not stop prompting them to decompartmentalize it* ♥

(always) the artifact --constitutes--> the object of critique


animals do not judge an *abstract situation*, but a situation offered to them *as it is offered* to them

(Cinderella's) reciprocal habituation --> animal itself actively takes the questions and the presence of the researcher into consideration
to negate the condition of research --> exchange judgment and opinions (+ mutually affect one another)

why is ‘interest’ a bad motive, in this frame?
-because the animal must be interested in other things besides the human being, it must continue to live its life as a goat or a sheep --✕--> “the good animal: the animal responds to her observer”


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

Singh + Dave --> ordinary affects of killing (animal) --> anthropology of ethics =/= Agamben's killablity (linked with sovereignty): routinized emotionally indifferent production of bare life (capacity to decide which bodies can be killed, without the killing counting either as homicide or as a sacrifice)

normative moral claims

(Laidlaw, Foucault) ethical life: reflexive practice of freedom --humanistic-->
•traditions of virtuous conduct
•changing practices of self-fashioning
•affective dispositions: compassion, devotion
- (altruistic question of) how ought to one live?
=/=
what is the mode of a killing?
what is the mood accompanying that killing?
+ ethical repercussions (if any) there of, even of they are not prescribed or proscribed in state or in customary law


*to write nonmorally about [*]ethics: a mode of relatedness, even if the relation is as ephemeral as a mood that may escape measure or description, lying somewhere between mourning and indifference
[=/= to have an a priori moral code based on which we might justify (or predict ahead) our emotional responses to particular killing ~= what constitutes a good life or death]

(mourning =/= indifference)

concept + reality of animals + anthropology of India

everyday affects (while witnessing or executing the death of animals)
doubts and pleasures
cruelties and indifferences
chicken shops
decimated forests of central In[...]

[...]ze) as increases and decreases, brightening and darkening
() in a cartography distributed across a field of intensities and durations
[=/= rush to incorporate them into a representational order of political or moral significance]

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

[*]epistemology = stories of knowledge from before that somehow we are still living with now (#fable)
Geroulanos -->{ Ardrey --to--> Kubrick's african genesis : “weapon fathered man”
technology + prehistory (in postwar period)
“tool ==> man"}

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

knowing images
epistemic image : knowledge-based pictorial gestures (in my work without) --> organization + collecting + demonstrating theories + scientific tools + direct references to natural objects
--> searchable interfaces (+ desire for condensed information)
(**list ==> searchable**)

(Apianus's early modern cognitive horizon -->) eye: another organ used to calibrate settings
activated eye --> new empirical pursuits

my epistemic images : work of an image fetishist

bestiary: animal character diagnosis

[horses]
(from) genre of taking care of the animal: veterinary --to--> chiromancy: profiling of the animal conditioned through the serial nature of list (==> control)

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

Brancaforte
readings of the apparatuses framing Olearius's books
tradition of representing Persia in the West (Xenophon and Herodotus)
narrative elements of Olearius’ works remain largely unexamined


Brentjes

elm naghli (artistic research knowledge) =/= elm aghli (rationality)

(science) elm in Iran <== (10th century written in Persian:) limits of the world [hodud al-alam] + pharmacological medicine + (translated ~= adaptations of) astrology

10th century --> gradual decline in literacy in Arabic ==> Persian treaties on sciences

rag-shenasi (knowledge of the pulse) --> Avicenna

روضة المنجمین

rowzat (روضة to look) [~/=? nozhat نزهت] ~= garden ~= astrological site
-(iran) university garden =/= (greek) university gymnasium


book: expository discourse (رساله توضیحی، تفسیری، نمایشی)
•poems on the subject
•تحسین و تمجید lengthy laudatory adjectives to describe the dedicatee:
◦patronage of the courts
◦the teaching circles
◦the family lineages of professions
◦the existence of “amateurs de sciences” (the private individuals interested in science)
•anecdotes (historical or legendary)
•questions and answers
•observation on the usefulness and the excellence of knowledge in general


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

[...]