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8left:0;counter-increment:p.footnote;content:counter(footnoteCounter) "."}.rich_text p+p{margin-top:calc(var(--fs-reg)*var(--fs-reg_lh))}.rich_text blockquote{max-width:800px;margin-left:auto;margin-right:auto;padding-right:var(--margin_x2);line-height:1.4;text-align:justify}.rich_text blockquote,.rich_text p.attribution{padding-left:var(--margin_x2);box-sizing:border-box}@media screen and (max-width:768px){.rich_text p.attribution{padding-left:0}}.plain_text a,.rich_text a{text-decoration:underline}@media screen and (any-hover:hover){.plain_text a:hover,.plain_text a:hover *,.rich_text a:hover,.rich_text a:hover *{color:#757575}}.image_zoom{position:relative;height:80vh;overflow:hidden}.image_zoom_cover{width:100%;top:0;left:0;position:absolute;height:80vh;z-index:100;cursor:pointer;background:hsla(0,0%,100%,.5)}.image_zoom_cover:after{content:"View Image Detail";position:absolute;top:50%;left:50%;text-align:center;transform:translate(-50%,-50%);border:var(--border);border-radius:var(--radius);box-sizing:border-box;height:3rem;line-height:2.9rem;padding-left:var(--margin);padding-right:var(--margin);background:var(--white)}.image_zoom_wrapper{display:block;width:100%;height:80vh}.pinch-scroll-zoom img{display:block;max-width:100%;max-height:100%;margin:0 auto;cursor:move;cursor:grab;cursor:-webkit-grab}.pinch-scroll-zoom img:active{cursor:grabbing;cursor:-webkit-grabbing}.pinch-zoom-wrapper{height:80vh}.img_inset .project_video.oneup_video,.img_inset figure.simple_image img{margin:0 auto;max-width:600px;width:auto}.img_small .project_video.oneup_video,.img_small figure.simple_image img{margin:0 auto;max-width:calc(800px - var(--margin_x4));width:auto}@media screen and (max-width:768px){.img_small .project_video.oneup_video,.img_small figure.simple_image img{max-width:unset;width:100%}}.img_large .project_video.oneup_video,.img_large figure.simple_image img{margin:0 auto;max-width:calc(100vw - var(--margin_x4));width:auto}.img_large figure.simple_image img{max-height:calc(100vh - var(--margin_x4))}.img_fullbleed figure.simple_image img{max-height:calc(100vh - var(--margin_x4))}.img_fullbleed .project_video.oneup_video,.img_fullbleed figure.simple_image img{margin:0 auto;max-width:100%;width:auto}.project_slideshow_wrapper .vueperslide,.project_slideshow_wrapper .vueperslides,.project_slideshow_wrapper .vueperslides--fixed-height,.project_slideshow_wrapper .vueperslides__track,.project_slideshow_wrapper .vueperslides__track-inner{height:80vh}.simple_audio{position:relative}.section.simple_audio{margin-bottom:var(--margin_x4)}.simple_audio.plain_audio{width:calc(100% - var(--margin_x4));max-width:calc(800px + var(--margin_x4));margin-left:auto;margin-right:auto}.simple_audio.plain_audio nav{text-align:center}.simple_audio.plain_audio nav button{position:relative;margin-left:auto;margin-right:auto}
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9.about,.about_header{background-color:var(--white)}.about_header{position:-webkit-sticky;position:sticky;top:-1px;z-index:10}figure.simple_image.logo_inset{width:auto;max-width:calc(100% - var(--margin_x4));max-height:4rem;margin-left:auto;margin-right:auto}.about_matrix .simple_text h1{text-align:center;text-transform:uppercase;letter-spacing:.03em!important}.about_matrix .simple_text *+h1{margin-top:calc(var(--fs-large_lh)*var(--fs-large)*1.5)}
10.home .header,.home .play_statement{position:relative;z-index:10}.home{--border:solid 1px var(--white)}.home *{color:var(--white)}.home .play_btn{stroke:var(--white)}.home .btn{text-shadow:var(--ts)}#homepage_footer{position:fixed;z-index:11;bottom:var(--margin);width:100%}.footer_menu,.project_footer{display:flex;flex-direction:row;justify-content:center}@media screen and (max-width:1170px){.project_footer .btn--standard{padding-left:.3rem;padding-right:.3rem}}@media screen and (max-width:768px){#homepage_footer{left:0;right:0;margin-left:auto;margin-right:auto;width:calc(100% - var(--margin_x2))}.project_footer{text-align:center}.footer_menu,.project_footer{flex-direction:column}}.homepage_slideshow{position:absolute;top:0;z-index:5;width:100%}.homepage_slideshow .vueperslide,.homepage_slideshow .vueperslides,.homepage_slideshow .vueperslides--fixed-height,.homepage_slideshow .vueperslides__track,.homepage_slideshow .vueperslides__track-inner{height:100vh}.homepage_slide{height:100vh;width:100%}.homepage_image{position:absolute;top:0;left:0;width:100vw;height:100vh}figure.simple_image.homepage_image img{width:100vw;height:100vh;-o-object-fit:cover;object-fit:cover}.project_caption{position:absolute;left:0;right:0;margin-left:auto;margin-right:auto;width:calc(100% - var(--margin_x8));margin-bottom:var(--margin);bottom:var(--margin_x4);transition:var(--opacity_slow);text-shadow:var(--ts)}.project_caption.hide{opacity:0}
11.index{background-color:var(--white)}.index_options{position:fixed;top:var(--margin);left:var(--margin_x2);z-index:10;pointer-events:none}.index_options select{position:relative;z-index:10;pointer-events:auto}@media screen and (max-width:768px){.index_options{left:unset;top:unset;position:relative;display:flex;flex-direction:row;flex-wrap:nowrap;justify-content:space-between;width:calc(100% - var(--margin_x2));box-sizing:border-box;margin-left:auto;margin-right:auto}.index_options select{box-sizing:border-box;width:calc(50% - var(--margin)/2);flex-basis:calc(50% - var(--margin)/2);margin-left:0!important;margin-right:0!important}}.index_list_header,.project_row{padding-top:var(--margin);padding-bottom:var(--margin);border-bottom:var(--border)}.project_row:last-child{margin-bottom:var(--margin_x2)}.project_row.is_hovering .hvr--opacity{opacity:.4}@media screen and (min-width:769px){.project_titling{display:flex;flex-direction:column;min-height:calc(var(--margin)*7);justify-content:space-between;align-items:flex-start}.project_description{margin-bottom:0}}.image_stack_wrapper{pointer-events:none;height:10rem;width:calc(100% - 1rem)}.image_stack_wrapper,.image_stack_wrapper img{position:absolute;top:50%;left:50%;transform:translate(-50%,-50%)}.image_stack_wrapper img{max-height:10rem;max-width:100%;box-shadow:0 0 .5rem #d3d3d3}.image_stack_wrapper img:first-child{transform:translate(-50%,-50%);z-index:4}.image_stack_wrapper img:nth-child(2){transform:translate(calc(-50% + .25rem),calc(-50% - .25rem));z-index:3}.image_stack_wrapper img:nth-child(3){transform:translate(calc(-50% + .5rem),calc(-50% - .5rem));z-index:2}.image_stack_wrapper img:nth-child(4){transform:translate(calc(-50% + .75rem),calc(-50% - .75rem));z-index:1}figure.project_row_thumb{height:100%;max-height:10rem}figure.project_row_thumb.simple_image img{width:auto;margin-left:auto;margin-right:auto;max-width:100%;max-height:10rem}figure.project_row_thumb.has_shadow img{box-shadow:0 0 .5rem #d3d3d3}.collection_btn,.theme_btn{transition:var(--opacity)}.theme_btn{background:#d3d3d3;margin-right:var(--margin_quarter);margin-bottom:var(--margin_quarter);border-radius:var(--margin_x2);text-transform:lowercase}.collection_btn,.theme_btn{padding:var(--margin_quarter) var(--margin);padding-bottom:.32rem}.collection_btn{width:100%;display:block;box-sizing:border-box;background:rgba(0,0,0,.4);border-radius:var(--radius);text-align:center;margin-bottom:var(--margin_half)}.collection_btn.inactive,.theme_btn.inactive{opacity:.4}.grid-stack{position:relative;display:block;width:100%;box-sizing:border-box}.index_project_thumb{z-index:8;opacity:.2;display:flex;flex-direction:column;justify-content:center;align-items:center;position:relative;margin:0 auto;width:100%;height:100%}.active_project .index_project_thumb{opacity:1}.index_project_thumb.align--top{justify-content:flex-start}.index_project_thumb.align--bottom{justify-content:flex-end}.index_project_thumb.align--left{align-items:flex-start}.index_project_thumb.align--right{align-items:flex-end}.index_project_thumb .type_icon.custom_positioning{top:0;left:0}.index_project_thumb .image_stack_wrapper{width:min(20rem,calc(100% - 2rem));height:min(10rem,100%)}.index_project_thumb.align--top .image_stack_wrapper{top:0;transform:translate(-50%)}.index_project_thumb.align--bottom .image_stack_wrapper{top:unset;bottom:0;transform:translate(-50%)}
11.index_project_thumb.align--left .image_stack_wrapper{left:0;transform:translateY(-50%)}.index_project_thumb.align--right .image_stack_wrapper{left:unset;right:0;transform:translateY(-50%)}.index_project_thumb.align--bottom.align--left .image_stack_wrapper,.index_project_thumb.align--bottom.align--right .image_stack_wrapper,.index_project_thumb.align--top.align--left .image_stack_wrapper,.index_project_thumb.align--top.align--right .image_stack_wrapper{transform:translate(0)}.index_project_thumb img{max-width:min(20rem,100%);max-height:min(10rem,100%)}.index_project_thumb img.primary{z-index:1;margin-bottom:1rem;margin-top:1rem}
12.collections{background:var(--white)}.collection_project_thumbs{height:calc(var(--margin_x4)*2.5);width:100%}@media screen and (max-width:768px){.collection_project_thumbs{height:calc(var(--margin_x4)*2.4);width:100%}}.proj_thumbs_pendulum{width:100%;position:relative}.proj_thumbs_pendulum img{position:relative}.proj_thumbs_pendulum .type_wrapper,.proj_thumbs_pendulum img{display:block;left:0;right:0;margin-left:auto;margin-right:auto;max-width:10rem;max-height:calc(var(--margin_x4)*1.75)}.proj_thumbs_pendulum .type_wrapper{position:absolute;transform-origin:center center}.page_collections-collection{--border:solid 1px var(--white)}.page_collections-collection .btn--menu{background:transparent}.page_collections-collection .btn--menu.menu_open{--border:solid 1px #000}.collection *{color:var(--white);--border:solid 1px var(--white);stroke:var(--white)!important}.collection{height:100vh;background-color:var(--bg)}.collection_nav{position:fixed;z-index:10;bottom:var(--margin);right:var(--margin_x2)}@media screen and (max-width:768px){.collection_nav{right:0;left:0;margin-left:auto;margin-right:auto;width:50%;text-align:center}}.collection_title{position:relative;z-index:10}@media screen and (max-width:768px){.collection_title{min-height:calc(var(--margin)*3)}.m_hide{display:none}}.collection_item{border-top:var(--border);padding-top:var(--margin_half);padding-bottom:var(--margin_half)}.collection_item:last-child{border-bottom:var(--border)}.collection_ticker{position:relative;z-index:10;display:flex}.ticker_tab{height:1rem;background:transparent;width:100%;position:relative;transform:translateY(-.5rem);margin-left:var(--margin_quarter);margin-right:var(--margin_quarter)}.ticker_tab:after{content:"";position:absolute;top:.5rem;left:0;height:1px;background:#fff;width:100%}.ticker_tab:first-child{margin-left:0}.ticker_tab:last-child{margin-right:0}.ticker_tab.active{opacity:.4}.col_project_list{height:100vh}.project_thumb_wrapper{height:calc(10vw - var(--margin))}.project_thumb_title{min-height:3rem}.project_centering{position:relative;margin-top:50%;transform:translateY(-50%)}
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32			</style> <g><path d="M22.5,24.2h54.9 M22.5,39.8h54.9 M22.5,55.4h54.9" class="ham"></path></g></svg></button> <!----> <main class="about"><h1 class="header caps center pt--1">About</h1> <header class="about_header mt--1 header_section"><ul class="grid grid--space pt--1 pb--1 mpt--0 mpb--0"><li class="col m_ml--1_2 m_mr--1_2 fs--large fs--m_regular m_mb--1_2"><button class="btn--hover">The Project</button></li><li class="col m_ml--1_2 m_mr--1_2 fs--large fs--m_regular m_mb--1_2"><button class="btn--hover">Access Statement</button></li><li class="col m_ml--1_2 m_mr--1_2 fs--large fs--m_regular m_mb--1_2"><button class="btn--hover">Contributors</button></li><li class="col m_ml--1_2 m_mr--1_2 fs--large fs--m_regular m_mb--1_2"><button class="btn--hover">Acknowledgements</button></li></ul></header> <section class="about_matrix"><h1 id="section_9978b84242e8" class="header center mt--2 pt--2 mb--2">The Project</h1><section id="section_93ad5c52a0bc" class="simple_text fs--large fs--m_regular section"><div><p>This website brings together the many lines of inquiry that inform our film <em>Bugs and Beasts Before the Law</em> (2019).</p><h1>Background</h1><p>Organized into five, themed chapters that tell the story of five different interactions between non-humans and the law, <em>Bugs and Beasts Before the Law</em> centres on the legal trials of animals and non-human others that took place across Europe and its extended colonies from approximately the 9th century. While plain in its absurdity, the aims of this historical phenomenon continue to be expressed in contemporary practices across the globe: in the legal systems that sort, categorize, and section societies; in the relationships we hold with human and non-human others; in the ways our cities are built; and how we have come to conceive of ownership and property. For our research, the records of these trials offer a starting point for tracing the grand relational knot from which humans throughout history have sought to disentangle. By interrogating a multitude of obscure and often violent historical narratives, <em>Bugs and Beasts Before the Law</em> uncovers the stories, the perceptions, and the taxonomies that shape our worlds. Our artist book, <em><a href="https://shop.henryart.org/collections/frontpage/products/bambitchell"><span class="gray_text">Bugs and Beasts Before the Law: Appendix A-L</span></a> </em>continues this work, drawing connections between systems to expose punitive ideology and the myriad targets affected by its gaze throughout history.</p><h1>Before Law</h1><p>This website presents the third and final (yet distinctly open-ended) form of inquiry and storytelling. With new and adapted works by artists, scholars, poets, thinkers, and performers, <em>Before Law</em> brings together practitioners invested in questioning the systems and narratives surrounding interspecies relations. The contributors to this site have each influenced the development of our own research in some form over the years. Their inspired works have deepened our thinking and collectively, their varied approaches are exemplary of how we might all attend differently. <em>Before Law</em> both culminates our research on the Medieval trials of animals and objects, and continues as a living archive—an organizational model of research and creation that unendingly probes the intersecting histories of non-human others and the law.<br><br>The site’s organizational model acts as an intervention into conventional systems of classification. By offering the reader the means to craft their own trajectories, encounter works in varied order, and discover the elasticity between ideas, we highlight the limits of Enlightenment-led forms of inquiry. <em>Before Law</em> extends this ethos of disruption and multiplicity when attending to the functions, limits, and aesthetics of accessibility. Widely differing in form, method, and delivery, each work on this site is realized for multiple modes of experience; understanding that our relationships, and the worlds within which we exist, are principally determined by what we can access. And finally, the site includes Voice of Before Law, a synthetic speech model trained using deep learning AI to imitate the voice actor whose narration is central to the film <em>Bugs and Beasts Before the Law</em>. Set squarely between the human and non-human, Voice is an audio guide and emblem of multiplicity that brings to the project greater points of entry and narrative possibility.<br><br><span class="gray_text"><em>—Sharlene Bamboat &amp; Alexis Kyle Mitchell, 2022.</em></span></p></div></section><h1 id="section_ee3bf188933a" class="header center mt--2 pt--2 mb--2">Access Statement</h1><section id="section_f3ba89016177" class="simple_text fs--large fs--m_regular section"><div><p>Before-Law.com was designed with the desire to foreground accessibility.</p><h1>
32Background</h1><p>This site is enlivened by the principles of Disability Justice and takes inspiration from many artists and activists working towards creating a more inclusive, intersectional, and accessible world. Throughout the making of <em>Before Law</em>, it has been our goal to activate the aesthetic potential of a justice-oriented understanding of &quot;access as integral to the concept and execution of art&quot; (Lee, Bunch &amp; Chen, 2022). <br><br>Our approach to the architecture and stylistic framework of the site has been guided by and realized through collaboration with a range of experts: website designers and developers <a href="https://othermeans.us">Other Means</a>; accessibility consultant Josh Halstead; and the crucial feedback, testing, and additional consultation of Yvonne Felix, and Francis Tomkins. Each of our invited contributors has also taken up the creative challenge of imagining how their artistic works can animate access. Their openness to experimentation has allowed this site to present every work in multiple styles and formats.</p><h1>Access Overview</h1><p>Below is a brief overview of how the content of this site can be navigated and experienced.</p><ul><li>Long-form texts, and text-based works with creative formatting, are also available as downloadable PDFs for reading ease and are compatible with stand-alone, text-to-speech assistive technologies</li><li>Still images are accompanied by captions, alt-text, and image descriptions</li><li>Videos variously include captions, described audio, and on-screen text</li><li>PDF downloads are also available for audio and video projects, and comprise transcripts with scene descriptions</li><li>This site and its downloadable PDF files can be navigated using keyboard, mouse, and screen reader</li><li>For navigation and orientation, each section of this site includes an introductory message. The play button appearing next to these messages, allows the text to be read aloud by an AI voice that has been trained in the speech pattern of the narrator in our film <em>Bugs and Beasts Before the Law</em></li></ul><p>While this list is not exhaustive, we will continue our work to ensure wider accessibility, and remain open to suggestions and alternative methods as the site continues to grow and develop. You can reach us by email at: <span class="gray_text"><a href="/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="07646869736664734765666a656e73646f626b6b2964686a">[email&#160;protected]</a></span><br></p></div></section><h1 id="section_56bdafc0e0bd" class="header center mt--2 pt--2 mb--2">Contributors</h1><section id="section_d8e5399e3882" class="contributors grid"><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Another Gaze</h1> <div class="contributor_bio"><p>Another Gaze (Missouri Williams &amp; Daniella Shreir) was founded in 2016 to provide a nuanced forum for discussion about women as filmmakers, filmic subjects, and spectators. In 2021 they launched <a href="https://www.another-screen.com/">Another Screen</a>, an irregular streaming platform, streaming short-term programmes of films by women across modes of production and geographies, with new writing and translations about these works. In 2022 they launched a small publishing imprint, <a href="https://www.anothergazeeditions.com/">Another Gaze Editions</a>.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Ama Codjoe</h1> <div class="contributor_bio"><p>Ama Codjoe is the author of <em>Bluest Nude</em> (Milkweed Editions, 2022) and<em> Blood Of The Air</em> (Northwestern University Press, 2020), and a 2020 winner of the Drinking Gourd Chapbook Poetry Prize. Her recent poems have appeared in <em>The Nation; The Atlantic; </em>and as part of the series<em> The Best American Poetry</em>, among others. Codjoe has been awarded fellowships from the National Endowment for the Arts; New York Foundation of the Arts through New York State Council; and Jerome Foundation.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">anorak</h1> <div class="contributor_bio"><p><a href="https://www.anorakanorak.com/">anorak</a> is a curatorial collective and an independent art space in Berlin run by Lukas Ludwig and Johanna Markert. Organized as a non-profit association for contemporary art, anorak is dedicated to creating space
32s for sincere and mutual exchange, enabling artists to produce, present, and critically discuss their work. Since 2015, their experimental artistic program has been shaped by long-term collaborations with local and international artists and cultural institutions through the joint development of screenings, exhibitions, performances, dinners, workshops, and publications, with recent projects at Württembergischer Kunstverein Stuttgart (2021); ACUD MACHT NEU, Berlin (2020); and Kunstverein Braunschweig (2019). In 2018/19 they were fellows at Akademie Schloss Solitude. In 2022 their curatorial investigation into the <em>Cinema of Cockaigne</em> was awarded a research stipend from the Senate Department for Culture and Europe, Berlin.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Antoinette Burton</h1> <div class="contributor_bio"><p><a href="https://history.illinois.edu/directory/profile/aburton">Antoinette Burton</a> is a feminist historian of the British empire who seeks to write histories from below that center on struggles over power in the human and non-human world. Women, gender and sexuality have always been key to Burton's work, which strives for an intersectional perspective that understands race and class as crucial to both gendered power and dispossession. Her book <em>Gender History: A Very Short Introduction</em> is forthcoming from Oxford University Press.<br></p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Bamboat | Mitchell</h1> <div class="contributor_bio"><p><a href="http://www.bambitchell.com/">Sharlene Bamboat &amp; Alexis Kyle Mitchell</a> work with national archives and historical narratives to rigorously, yet playfully disrupt systems and codes of power. Their works are formulated not by order and rule, but by an unbounded narrative imaginary that asks who we might be if the script were changed ever so slightly. Recent exhibitions include Henry Art Gallery, Seattle (2021); Kunstverein München, Munich (2021); La Casa Encendida, Madrid (2020); Mercer Union, Toronto (2019); and the Berlinale, Berlin (2018). Bamboat | Mitchell have held fellowships at The Darling Foundry, Montreal (2019); and MacDowell, New Hampshire (2018). In 2020 the duo were long-listed for the Sobey Art Award through the National Gallery of Canada. <a href="https://sharlenebamboat.com/">Sharlene Bamboat</a> and <a href="http://www.alexismitchell.com/">Alexis Kyle Mitchell</a> also maintain individual practices in filmmaking and scholarship.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Donika Kelly</h1> <div class="contributor_bio"><p><a href="https://www.donikakelly.com/">Donika Kelly</a> is the author of <em>The Renunciations </em>(Graywolf Press, 2021), and <em>Bestiary: Poems</em> (Graywolf Press, 2016) for which she has received the Cave Canem Poetry Prize, the Hurston/Wright Legacy Award, and the Kate Tufts Discovery Award. She is a Cave Canem Graduate Fellow and a founding member of the collective Poets at the End of the World. Kelly is an Assistant Professor at the University of Iowa, where she teaches creative writing.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Emilia Beatriz</h1> <div class="contributor_bio"><p>Emilia Beatriz (elle/they) is an artist, access worker, and beekeeper-in-study. Informed by poetics and quantum entanglement, Emilia's forthcoming film <em>barrunto</em> reflects on grief &amp; resistance in shifting landscapes of loss, translating bodily unrest, forecasts, or omens sensed via signals present in the environment; from military-occupied Scotland to the streets of Puerto Rico, from the bottom of the ocean to the planet Uranus. Emilia is co-founder of Collective Text, a collaborative working process committed to practicing disability justice and supporting accessibility in art and film through creative captioning, audio description, and interpretation.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Jeanne Penjan Lassus</h1> <div class="contributor_bio"><p><a href="http://jeannepenjanlassus.com/">Jeanne Penjan Lassus</a>
32’ works draw on an interest in sensory perceptions and the porosity of spaces and beings, with acute attention to one’s own environment as a central work process. Through film, video installation, photography, and writing, she is interested in creating experiences from fragments that unfold in their own temporalities, reflecting on how our bodies sense, move and extend into space. She studied at Beaux-Arts de Paris and is based in Bangkok.<br></p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Ohan Breiding</h1> <div class="contributor_bio"><p><a href="https://www.ohanbreiding.com/">Ohan Breiding</a> is a Swiss artist based in New York. They work in drawing, photography, and video installation, exploring the intersections of trans embodiment, ecological care, and collaborative processes. They have presented their work in galleries, museums and film festivals nationally and internationally with upcoming museum exhibitions at Kunsthaus Zürich, Switzerland and at Oceanside Museum of Art (as a part of Getty’s Pacific Standard Time Initiative), both in collaboration with Shoghig Halajian, and at Frac des Pays de la Loire, Nantes and Williams College Museum of Art (WCMA), Williamstown. They are the recipient of the 2022 Hellman Award, the 2021 TBA—Ocean Space Fellowship, the 2019 Swiss International Film Festival (SIFF) Award, the 2017 Rema Hort Mann Emerging Artist Award and the 2012 DAAD Award. Their practice has been written about in Artforum, Art in America, Artillery, BOMB, Hyperallergic and Whitewall, among others. Breiding is an Assistant Professor in the Art and Art History Department at Williams College and is represented by Ochi Gallery in Los Angeles.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Oliver Husain</h1> <div class="contributor_bio"><p>
32<a href="http://husain.de/">Oliver Husain</a> is an artist and filmmaker based in Toronto. His cross-disciplinary practice critically combines and cheekily confuses the conventions of video, film, visual art, performance, and dance to create visual paradigms that are playful, personal and astutely political. Recent exhibitions and screenings include Heni Onstad Artsenter, Oslo (2022); Silent Green Kulturquartiert, Berlin (2021); Bemis Center for Contemporary Art, Omaha (2021); Art Museum at the University of Toronto (2020); and Stamps Gallery, Ann Arbour (2020).</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Parastoo Anoushahpour, Faraz Anoushahpour, and Ryan Ferko</h1> <div class="contributor_bio"><p><a href="https://p-f-r.com/">Parastoo Anoushahpour, Faraz Anoushahpour, and Ryan Ferko</a> have worked in collaboration since 2013. Their shared practice explores the interplay of multiple subjectivities as a strategy to address the power inherent in narrative structures. Foregrounding the idea of place as a central focus, their work seeks to decode their surroundings and trouble the production of images through speculative narration and dialectical imagery. Shifting between both gallery and cinema contexts, their recent projects have been presented at Berlinale (2022); Punto De Vista International Documentary Festival (2019), Viennale, Vienna (2018); Media City Film Festival, Windsor (2018); New York Film Festival (2018); Toronto International Film Festival (2018); among others.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Renèe Helèna Browne</h1> <div class="contributor_bio"><div><p><a href="https://reneehelenabrowne.wordpress.com/">Renèe Helèna Browne</a> is an Irish artist based between Scotland and Ireland. They are currently developing <em>Rebuilding Urania</em>, an oral archiving programme commissioned by Project Arts Centre, Dublin. Browne is 2021–2023 Talbot Rice Resident Artist with the Edinburgh College of Art at the University of Edinburgh. They are winner of the 2021 Sunset Kino Award for Excellence in Contemporary Film for their work <em>Daddy’s Boy</em> with the Salzburger Kunstverein, Salzburg. Forthcoming presentations include Project Arts Centre, Dublin, and Centre for Contemporary Art, Glasgow.</p><p><br></p></div></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Renisa Mawani</h1> <div class="contributor_bio"><p>Renisa Mawani is Professor of Sociology at the University of British Columbia, located on the unceded territories of the Musqueam (xʷməθkʷəy̓əm) peoples. She works in the fields of critical theory and colonial legal history and has published on topics of law, colonialism, and legal geography. She is co-editor of <em>Animalia: An Anti-Imperial Bestiary for Our Times </em>(Duke University Press, 2020) with Antoinette Burton; and the author of <em>Across Oceans of Law </em>(Duke University Press, 2018)—a 2020 finalist for the UK Socio-Legal Studies Association Theory and History Book Prize, and winner of the Association of Asian American Studies Book Prize for Outstanding Contribution to History. She is also co-editor of <em>The Travels of Law: Indian Ocean Itineraries</em> (American Society for Legal History, 2014) with Iza Hussin, and is the author of <em>Colonial Proximities </em>(University of Chicago Press, 2009).</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Rupali Morzaria</h1> <div class="contributor_bio"><p><a href="https://rupalimo.github.io/">Rupali Morzaria </a>is an ex-architect turned graphic designer who enjoys hand coding websites and sometimes making Instagram filters for her friends. Her work is playful and iterative, extending from a research-based approach to image-making that is always curious and often obsessive.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Sarah Keenan</h1> <div class="contributor_bio"><p>Sarah Keenan works at Birkbeck Law School, University of London, where she co-founded the Centre for Research on Race and Law. Her research and teaching are at the intersection of legal and political theory, geography and post-colonial studies, with a particular focus on property. Her monograph <a href="https://www.routledge.com/Subversive-Property-Law-and-the-Production-of-Spaces-of-Belonging/Keenan/p/book/9781138785892">Subversive Property: Law and the Production of Spaces of Belonging</a> was published in the Routledge Social Justice series in 2015. In 2017-2018 she held a Leverhulme Fellowship for her project <a href="https://cityroadpod.org/2017
32/12/04/land-and-cities/">Making Land Liquid: The Temporality of Title Registration</a>.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Shahana Rajani</h1> <div class="contributor_bio"><p>Shahana Rajani<strong> </strong>is an artist based in Karachi. Her work and research traces the emerging visualities and infrastructures of development and militarisation in Pakistan using multidisciplinary methods and media. She is a co-founder of Karachi LaJamia, an experimental project seeking to politicize art education and explore new radical pedagogies and art practices. She is an Assistant Professor in the Liberal Arts Programme at the Indus Valley School of Art and Architecture, Karachi. She holds a Bachelor of Arts in History of Art from the University of Cambridge, and a Master of Arts in Critical and Curatorial Studies from the University of British Columbia.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Shoghig Halajian</h1> <div class="contributor_bio"><p>Shoghig Halajian is a scholar and curator based in New York. She is co-director of Human Resources LA, co-editor of the online journal Georgia (in collaboration with Anthony Carfello and Suzy Halajian), and previously was Assistant Director at Los Angeles Contemporary Exhibitions (LACE). She has curated exhibitions and programs at Centre National d'Art Contemporain, Grenoble; Hammer Museum, Los Angeles; ONE National Gay &amp; Lesbian Archives at the USC Libraries, Los Angeles; Redcat, Los Angeles; UKS (Unge Kunstneres Samfund), Oslo, among others. She has exhibited her video works (made in collaboration with Ohan Breiding) at the Berkeley Art Museum and Pacific Film Archive; Sharjah Art Foundation; Haus N, Athens; Hallways Contemporary Art Center, Buffalo; and upcoming at Kunsthaus Zürich and Oceanside Museum (as a part of Getty’s Pacific Standard Time Initiative). Awards include the Andy Warhol Art Writers Grant and a TBA21—Ocean Space Fellowship. She is a Ph.D. candidate in Art History, Theory, and Criticism (with a Critical Gender Studies specialization) at the University of California, San Diego.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Sukaina Kubba</h1> <div class="contributor_bio"><p><a href="https://sukainakubba.myportfolio.com/">Sukaina Kubba</a> is an Iraqi-born Toronto-based artist who explores narratives of cultural and material assimilation and appropriation. Kubba's work has been included in recent exhibitions at Centre for Contemporary Art, Glasgow (2022); Art Gallery of Ontario (2019); Glasgow International (2018); and Aga Khan Museum, Toronto (2017). Forthcoming residencies include International Studio and Curatorial Program, New York; and La Wayaka Current, Atacama Desert, Chilé. Kubba is a sessional lecturer in Visual Studies at the University of Toronto, and previously served as curator and lecturer at Glasgow School of Art (2013–2018).</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Zoe Todd</h1> <div class="contributor_bio"><p><a href="https://zoestodd.com/">Dr. Zoe Todd</a> (Red River Métis) is a practice-led artist-researcher who studies the relationships between Indigenous sovereignty and freshwater fish futures in Canada. As a Métis anthropologist and researcher-artist, Dr. Todd combines dynamic social science and humanities research and research-creation approaches—including ethnography, archival research, oral testimony, and experimental artistic research practices—within a framework of Indigenous philosophy to elucidate new ways to study and support the complex relationships between Indigenous sovereignty and freshwater fish well-being in Canada today. They are a co-founder of the Institute for Freshwater Fish Futures, which is a collaborative Indigenous-led initiative that is ‘restor(y)ing fish futures, together’ across three continents. They are also a co-founder of the Indigenous Environmental Knowledge Institute (IEKI) at Carleton University. In 2020 they were elected to the Royal Society of Canada’s College of New Scholars, and in 2018 were the Presidential Visiting Fellow at Yale University.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Voice of Before Law</h1> <div class="contributor_bio"><div><p>Voice of Before Law greets you in each section of the website with introductory notes and directions for navigating the thoughts, concepts, and works making up this project. Voice is a synthetic speech model trained using deep learning AI to imitate the voice actor whose narration is central to the film <em>Bugs and Beasts Before the Law </em>(2019) by Bamboat | Mitchell<em>. </em></p><p>Who gets to tell the stories we know, and how does their telling change what we understand the stories to mean, are some of the concerns at the heart of Before Law. Voice navigates such questions by troubling the shared root of the words Author and Authority to explore the ethical dimensions of knowledge construction, the power structures that delimit identity possession, and the ways in which the tensions between fact, fiction, and parafictional amalgams are addressed in works of history and contemporary culture alike.</p><p>Conceived by Bamboat | Mitchell, with voice data from artist Sukaina Kubba, Voice is modeled by Resemble AI.</p></div></div></article></section><h1 id="section_b2058059b612" class="header center mt--2 pt--2 mb--2">Acknowledgements</h1><section id="section_0127a3def0c5" class="contributors grid"><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Mercer Union, a centre for contemporary art</h1> <div class="contributor_bio"><div><p>Before Law is produced with support from <a href="https://www.mercerunion.org/">Mercer Union</a>, Toronto, and the Canada Council for the Arts through the Arts Abroad program. </p><p>Sincere thanks to Director &amp; Curator, Julia Paoli for championing our work over the past many years.</p></div></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Canada Council for the Arts</h1> <div class="contributor_bio"><p>Sharlene Bamboat and Alexis Kyle Mitchell would like to acknowledge the support of the Canada Council for the Arts through the Digital Now Innovation Initiative.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Resemble AI, Technology Sponsor of Before Law</h1> <div class="contributor_bio"><div><p>Voice of Before Law is made possible by <a href="https://www.resemble.ai/">Resemble AI</a>. </p><p>Thanks to Co-Founder and COO, Saqib Muhammad for taking an interest in this project and for supporting a crucial element of our vision. </p></div></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Other Means, Design</h1> <div class="contributor_bio"><div><p>before-law.com is designed and developed by the graphic design studio <a href="https://othermeans.us/">Other Means</a>, New York. </p><p>Thank you for helping us build a home for these works.</p></div></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Aamna Muzaffar, Co-Editor & Project Manager</h1> <div class="contributor_bio"><div><p>We are eternally grateful for Aamna's guidance and thoughtfulness; her firm-yet-kind hand in letting us meander through the weeds of this sticky project. Thank y
32ou for always pulling us out of the forest with your sage advice.</p><p>This project would not be possible without Aamna's rigour, myriad skills, humour &amp; kindness.</p><p></p></div></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Sukaina Kubba, voice data</h1> <div class="contributor_bio"><p>We are grateful to the generosity and candor of Sukaina Kubba in collaborating with us to realize Voice of Before Law. </p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Josh Halstead, Accessibility Consultant</h1> <div class="contributor_bio"><p>Thank you for guiding us through the accessibility needs of this project from the beginning. </p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Yvonne Felix, Accessibility Consultant</h1> <div class="contributor_bio"><p>We would like to extend our gratitude to Yvonne Felix for assisting us through the accessibility components of the website. The intersection of her art and technology practice provided multiple entry points for us to think through aspects of our work.</p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Francis Tomkins and Sean Lee</h1> <div class="contributor_bio"><div><p>Francis, thank you for assisting in the writing of all the alt-text and image descriptions, and showing us where the poetry can live.</p><p>Sean, thank you for your early advice and sustained support in navigating our accessibility goals.</p><p></p></div></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">  </h1> <div class="contributor_bio"><p>    </p></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">Land Acknowledgement</h1> <div class="contributor_bio"><div><p>The contributors and creators of this project are scattered all over the world. As are the cables, computers, and remote communication systems that house this digital space. We as artists and cultural workers want to acknowledge that these systems are part of a globalized economic infrastructure that cannot exist without the extraction dependent on the continued colonization of Indigenous peoples. We take seriously the material implications of settler-colonial conditions on the ways in which our practice is sustained, even in the digital realm.</p><p>While this acknowledgement is not exhaustive, much of the work for this website was created in Tio’tia:ke (Montréal), the land and waters of which are cared for by the Kanien’kehá:ka Nation; Tkaronto (Toronto), the traditional territory of the Wendat, the Haudenosaunee Confederacy, and the Anishinaabeg, including the Chippewas and the Mississaugas of the Credit; and the coastal Atlantic Northeast known as Lenapehoking, the ancestral land of the Lenape people.</p><p>For more information on thinking critically about the land in which you live and work please visit <a href="https://native-land.ca/">https://native-land.ca/</a></p></div></div></article><article class="col col--1_3 mcol--full col--tile mcol--tile fs--small justify plain_text mb--2"><h1 class="caps center mb--1_2 mt--1">  </h1> <div class="contributor_bio"><p>    </p></div></article></section></section></main></div></div></div>
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32s for sincere and mutual exchange, enabling artists to produce, present, and critically discuss their work. Since 2015, their experimental artistic program has been shaped by long-term collaborations with local and international artists and cultural institutions through the joint development of screenings, exhibitions, performances, dinners, workshops, and publications, with recent projects at Württembergischer Kunstverein Stuttgart (2021); ACUD MACHT NEU, Berlin (2020); and Kunstverein Braunschweig (2019). In 2018\u002F19 they were fellows at Akademie Schloss Solitude. In 2022 their curatorial investigation into the "},{_key:"336aec1766cb",_type:a,marks:[g],text:"Cinema of Cockaigne"},{_key:"a1a52cb30a61",_type:a,marks:[],text:" was awarded a research stipend from the Senate Department for Culture and Europe, Berlin."}],markDefs:[{_key:aBy,_type:q,blank:i,href:"https:\u002F\u002Fwww.anorakanorak.com\u002F"}],style:f}],title:Sq},{_id:Sr,biography:[{_key:"d31ee3e83e0b",_type:e,children:[{_key:"8338209c5ddc0",_type:a,marks:[aBz],text:aBA},{_key:"3ec8b5e85ca9",_type:a,marks:[],text:" is a feminist historian of the British empire who seeks to write histories from below that center on struggles over power in the human and non-human world. Women, gender and sexuality have always been key to Burton's work, which strives for an intersectional perspective that understands race and class as crucial to both gendered power and dispossession. Her book "},{_key:"0f5f66f70feb",_type:a,marks:[g],text:"Gender History: A Very Short Introduction"},{_key:"6aa34d8ecbb7",_type:a,marks:[],text:" is forthcoming from Oxford University Press.\n"}],markDefs:[{_key:aBz,_type:q,blank:i,href:"https:\u002F\u002Fhistory.illinois.edu\u002Fdirectory\u002Fprofile\u002Faburton"}],style:f}],title:aBA},{_id:be,biography:[{_key:"da40c4e656d5",_type:e,children:[{_key:"f7035448e3a7",_type:a,marks:[aBB],text:"Sharlene Bamboat & Alexis Kyle Mitchell"},{_key:"223f59b2c473",_type:a,marks:[],text:" work with national archives and historical narratives to rigorously, yet playfully disrupt systems and codes of power. Their works are formulated not by order and rule, but by an unbounded narrative imaginary that asks who we might be if the script were changed ever so slightly. Recent exhibitions include Henry Art Gallery, Seattle (2021); Kunstverein München, Munich (2021); La Casa Encendida, Madrid (2020); Mercer Union, Toronto (2019); and the Berlinale, Berlin (2018). Bamboat | Mitchell have held fellowships at The Darling Foundry, Montreal (2019); and MacDowell, New Hampshire (2018). In 2020 the duo were long-listed for the Sobey Art Award through the National Gallery of Canada. "},{_key:"7dcba8ad24f0",_type:a,marks:[aBC],text:"Sharlene Bamboat"},{_key:"3b5b52459b04",_type:a,marks:[],text:Ss},{_key:"a77bb5169d92",_type:a,marks:[aBD],text:"Alexis Kyle Mitchell"},{_key:"238be7daa782",_type:a,marks:[],text:" also maintain individual practices in filmmaking and scholarship."}],markDefs:[{_key:aBC,_type:q,blank:i,href:"https:\u002F\u002Fsharlenebamboat.com\u002F"},{_key:aBD,_type:q,blank:i,href:"http:\u002F\u002Fwww.alexismitchell.com\u002F"},{_key:aBB,_type:q,blank:i,href:"http:\u002F\u002Fwww.bambitchell.com\u002F"}],style:f}],title:bo},{_id:fl,biography:[{_key:"9ce6a229d539",_type:e,children:[{_key:"bde2f60ed8e70",_type:a,marks:[aBE],text:ed},{_key:"58ee47ec2289",_type:a,marks:[],text:" is the author of "},{_key:"bde2f60ed8e71",_type:a,marks:[g],text:"The Renunciations "},{_key:"d7dfe7e6a0ae",_type:a,marks:[],text:"(Graywolf Press, 2021), and "},{_key:"bde2f60ed8e73",_type:a,marks:[g],text:"Bestiary: Poems"},{_key:"aa1b10ae0f7e",_type:a,marks:[],text:" (Graywolf Press, 2016) for which she has received the Cave Canem Poetry Prize, the Hurston\u002FWright Legacy Award, and the Kate Tufts Discovery Award. She is a Cave Canem Graduate Fellow and a founding member of the collective Poets at the End of the World. Kelly is an Assistant Professor at the University of Iowa, where she teaches creative writing."}],markDefs:[{_key:aBE,_type:q,blank:i,href:"https:\u002F\u002Fwww.donikakelly.c
32om\u002F"}],style:f}],title:ed},{_id:St,biography:[{_key:"2daec6bffce3",_type:e,children:[{_key:"34838a270f49",_type:a,marks:[],text:"Emilia Beatriz (elle\u002Fthey) is an artist, access worker, and beekeeper-in-study. Informed by poetics and quantum entanglement, Emilia's forthcoming film "},{_key:"c47904e80f13",_type:a,marks:[g],text:"barrunto"},{_key:"65c1b1fa2211",_type:a,marks:[],text:" reflects on grief & resistance in shifting landscapes of loss, translating bodily unrest, forecasts, or omens sensed via signals present in the environment; from military-occupied Scotland to the streets of Puerto Rico, from the bottom of the ocean to the planet Uranus. Emilia is co-founder of Collective Text, a collaborative working process committed to practicing disability justice and supporting accessibility in art and film through creative captioning, audio description, and interpretation."}],markDefs:[],style:f}],title:Su},{_id:ee,biography:[{_key:"8a9a219cd4aa",_type:e,children:[{_key:"5ded001fd3f6",_type:a,marks:[aBF],text:aBG},{_key:"82a0109a232d",_type:a,marks:[],text:"’ works draw on an interest in sensory perceptions and the porosity of spaces and beings, with acute attention to one’s own environment as a central work process. Through film, video installation, photography, and writing, she is interested in creating experiences from fragments that unfold in their own temporalities, reflecting on how our bodies sense, move and extend into space. She studied at Beaux-Arts de Paris and is based in Bangkok.\n"}],markDefs:[{_key:aBF,_type:q,blank:i,href:"http:\u002F\u002Fjeannepenjanlassus.com\u002F"}],style:f}],title:aBG},{_id:fm,biography:[{_key:"28c3b34b2859",_type:e,children:[{_key:"629ffe3b1bb40",_type:a,marks:[aBH],text:aBI},{_key:"91ebade7602e",_type:a,marks:[],text:" is a Swiss artist based in New York. They work in drawing, photography, and video installation, exploring the intersections of trans embodiment, ecological care, and collaborative processes. They have presented their work in galleries, museums and film festivals nationally and internationally with upcoming museum exhibitions at Kunsthaus Zürich, Switzerland and at Oceanside Museum of Art (as a part of Getty’s Pacific Standard Time Initiative), both in collaboration with Shoghig Halajian, and at Frac des Pays de la Loire, Nantes and Williams College Museum of Art (WCMA), Williamstown. They are the recipient of the 2022 Hellman Award, the 2021 TBA—Ocean Space Fellowship, the 2019 Swiss International Film Festival (SIFF) Award, the 2017 Rema Hort Mann Emerging Artist Award and the 2012 DAAD Award. Their practice has been written about in Artforum, Art in America, Artillery, BOMB, Hyperallergic and Whitewall, among others. Breiding is an Assistant Professor in the Art and Art History Department at Williams College and is represented by Ochi Gallery in Los Angeles."}],markDefs:[{_key:aBH,_type:q,href:"https:\u002F\u002Fwww.ohanbreiding.com\u002F"}],style:f}],title:aBI},{_id:fn,biography:[{_key:"b6a44bd1dde8",_type:e,children:[{_key:"e0b7b2eb82fc0",_type:a,marks:[aBJ],text:ef},{_key:"44e4fdb75d14",_type:a,marks:[],text:" is an artist and filmmaker based in Toronto. His cross-disciplinary practice critically combines and cheekily confuses the conventions of video, film, visual art, performance, and dance to create visual paradigms that are playful, personal and astutely political. Recent exhibitions and screenings include Heni Onstad Artsenter, Oslo (2022); Silent Green Kulturquartiert, Berlin (2021); Bemis Center for Contemporary Art, Omaha (2021); Art Museum at the University of Toronto (2020); and Stamps Gallery, Ann Arbour (2020)."}],markDefs:[{_key:aBJ,_type:q,blank:i,href:"http:\u002F\u002Fhusain.de\u002F"}],style:f}],title:ef},{_id:eg,biography:[{_key:"3ac092242d2a",_type:e,children:[{_key:"70bbaf1ba56c0",_type:a,marks:[aBK],text:dk},{_key:"5eb0acd1af79",_type:a,marks:[],text:" have worked in collaboration since 2013. Their shared practice explores the interplay of multiple subjectivities as a strategy to address the power inherent in narrative structures. Foregrounding the idea of place as a central focus, their work seeks to decode their surroundings and trouble the production of images through speculative narration and dialectical imagery. Shifting between both gallery and cinema contexts, their recent projects have been presented at Berlinale (2022); Punto De Vista International Documentary Festival (2019), Viennale, Vienna (2018); Media City Film Festival, Windsor (2018); New York Film Festival (2018); Toronto International Film Festival (2018); among others."}],markDefs:[{_key:aBK,_type:q,blank:i,href:"https:\u002F\u002Fp-f-r.com\u002F"}],style:f}],title:dk},{_id:Sv,biography:[{_key:"080a58c9ece7",_type:e,children:[{_key:"1b078444ba0f",_type:a,marks:[aBL],text:fo},{_key:"db30943b326d",_type:a,marks:[],text:" is an Irish artist based between Scotland and Ireland. They are currently developing "},{_key:"260269ba8e1a",_type:a,marks:[g],text:"Rebuilding Urania"},{_key:"80954427a466",_type:a,marks:[],text:", an oral archiving programme commissioned by Project Arts Centre, Dublin. Browne is 2021–2023 Talbot Rice Resident Artist with the Edinburgh College of Art at the University of Edinburgh. They are winner of the 2021 Sunset Kino Award for Excellence in Contemporary Film for their work "},{_key:"e00e68acd55c",_type:a,marks:[g],text:"Daddy’s Boy"},{_key:"931e2bb902eb",_type:a,marks:[],text:" with the Salzburger Kunstverein, Salzburg. Forthcoming presentations include Project Arts Centre, Dublin, and Centre for Contemporary Art, Glasgow."}],markDefs:[{_key:aBL,_type:q,blank:i,href:"https:\u002F\u002Freneehelenabrowne.wordpress.com\u002F"}],style:f},{_key:"cdbc72ecbe71",_type:e,children:[{_key:"df353ecbcb3a",_type:a,marks:[],text:ab}],markDefs:[],style:f}],title:fo},{_id:Sw,biography:[{_key:"b396dfde1aaf",_type:e,children:[{_key:"3f3ff66b50560",_type:a,marks:[],text:"Renisa Mawani is Professor of Sociology at the University of British Columbia, located on the unceded territories of the Musqueam 
32(xʷməθkʷəy̓əm) peoples. She works in the fields of critical theory and colonial legal history and has published on topics of law, colonialism, and legal geography. She is co-editor of "},{_key:"b581f1993f69",_type:a,marks:[g],text:"Animalia: An Anti-Imperial Bestiary for Our Times "},{_key:"7d989440e646",_type:a,marks:[],text:"(Duke University Press, 2020) with Antoinette Burton; and the author of "},{_key:"a4a7ea34d2cd",_type:a,marks:[g],text:"Across Oceans of Law "},{_key:"feb576b64f4e",_type:a,marks:[],text:"(Duke University Press, 2018)—a 2020 finalist for the UK Socio-Legal Studies Association Theory and History Book Prize, and winner of the Association of Asian American Studies Book Prize for Outstanding Contribution to History. 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Her work is playful and iterative, extending from a research-based approach to image-making that is always curious and often obsessive."}],markDefs:[{_key:aBM,_type:q,blank:i,href:"https:\u002F\u002Frupalimo.github.io\u002F"}],style:f}],title:"Rupali Morzaria"},{_id:Sy,biography:[{_key:"5d77a4892a32",_type:e,children:[{_key:"d60b8940c7080",_type:a,marks:[],text:"Sarah Keenan works at Birkbeck Law School, University of London, where she co-founded the Centre for Research on Race and Law. Her research and teaching are at the intersection of legal and political theory, geography and post-colonial studies, with a particular focus on property. Her monograph "},{_key:"d60b8940c7081",_type:a,marks:[aBN],text:"Subversive Property: Law and the Production of Spaces of Belonging"},{_key:"d60b8940c7082",_type:a,marks:[],text:" was published in the Routledge Social Justice series in 2015. 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She is a co-founder of Karachi LaJamia, an experimental project seeking to politicize art education and explore new radical pedagogies and art practices. She is an Assistant Professor in the Liberal Arts Programme at the Indus Valley School of Art and Architecture, Karachi. She holds a Bachelor of Arts in History of Art from the University of Cambridge, and a Master of Arts in Critical and Curatorial Studies from the University of British Columbia."}],markDefs:[],style:f}],title:aBP},{_id:fp,biography:[{_key:"e73b7e186d0a",_type:e,children:[{_key:"1672ba9c5d860",_type:a,marks:[],text:"Shoghig Halajian is a scholar and curator based in New York. She is co-director of Human Resources LA, co-editor of the online journal Georgia (in collaboration with Anthony Carfello and Suzy Halajian), and previously was Assistant Director at Los Angeles Contemporary Exhibitions (LACE). She has curated exhibitions and programs at Centre National d'Art Contemporain, Grenoble; Hammer Museum, Los Angeles; ONE National Gay & Lesbian Archives at the USC Libraries, Los Angeles; Redcat, Los Angeles; UKS (Unge Kunstneres Samfund), Oslo, among others. She has exhibited her video works (made in collaboration with Ohan Breiding) at the Berkeley Art Museum and Pacific Film Archive; Sharjah Art Foundation; Haus N, Athens; Hallways Contemporary Art Center, Buffalo; and upcoming at Kunsthaus Zürich and Oceanside Museum (as a part of Getty’s Pacific Standard Time Initiative). Awards include the Andy Warhol Art Writers Grant and a TBA21—Ocean Space Fellowship. 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They are a co-founder of the Institute for Freshwater Fish Futures, which is a collaborative Indigenous-led initiative that is ‘restor(y)ing fish futures, together’ across three continents. They are also a co-founder of the Indigenous Environmental Knowledge Institute (IEKI) at Carleton University. In 2020 they were elected to the Royal Society of Canada’s College of New Scholars, and in 2018 were the Presidential Visiting Fellow at Yale University."}
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32,leftColumn:"English",matrix:[{_key:"5fd15f0b82d5",_type:w,leftCol:{_type:j,content:[{_key:"d173b2184dc1",_type:e,children:[{_key:"b19ea9f04d1d",_type:a,marks:[g],text:bp},{_key:"c28ca0df957a",_type:a,marks:[],text:" is a fragment of a curatorial research project—an engagement with the donkey as cultural product, with melancholy and affirmation, of the carrying of heavy loads and the relieving of burdens, of language and the desire to refuse, of power and devotion, of mysticism and mystical transfiguration."},{_key:"c1f4d74f8f290",_type:a,marks:[g],text:SD},{_key:"505b0ca13029",_type:a,marks:[],text:" is an object of projection, a mirror of desires. "},{_key:"421e0e72292a",_type:a,marks:[g],text:"Donkey "},{_key:"cbb396517d81",_type:a,marks:[],text:"is a vessel that is slowly filled and rapidly emptied."}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"129ccdfb59ad",_type:e,children:[{_key:"4de3b7fea2840",_type:a,marks:[g],text:bp},{_key:"4de3b7fea2841",_type:a,marks:[],text:" ist ein Fragment einer kuratorischen Recherche – eine Auseinandersetzung mit dem Esel als Kulturprodukt, mit Melancholie und Affirmation, mit dem Tragen schwerer Lasten und dem Abwerfen der Last, mit Sprache und der Lust an Verweigerung, mit Potenz und Devotion, mit Mystik und mystischer Verklärung."},{_key:"12176e814e900",_type:a,marks:[g],text:SD},{_key:"428c7b93c98b",_type:a,marks:[],text:" ist eine Projektionsfläche, ein Spiegel von Sehnsüchten."},{_key:"537adb899b760",_type:a,marks:[g],text:SD},{_key:"537adb899b761",_type:a,marks:[B],text:d},{_key:"537adb899b762",_type:a,marks:[],text:"ist ein Gefäß, das langsam gefüllt und schnell ausgegossen wird."}],markDefs:[],style:f},{_key:"45bafed131eb",_type:e,children:[{_key:"c848a4ba6793",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"444e04544031",_type:j,content:[{_key:"a0e3ed850b95",_type:e,children:[{_key:"0128d5185cee",_type:a,marks:[z],text:"-"},{_key:"98ed91003dd2",_type:a,marks:[],text:"Written during a COVID-lockdown in Spring 2021, "},{_key:"e32f5b94547e",_type:a,marks:[g],text:bp},{_key:"c1664148731f",_type:a,marks:[],text:" is a means to engage with the author’s own depression, a denial of loneliness, an effort to reinscribe oneself in the world."}],markDefs:[],style:f}]},{_key:"4cef4775af40a0c22f615f0a1d0f65c3",_type:at,audioFile:{_type:J,asset:{_ref:"file-3c2e03aff708d113e7c1a87ad2d81a4c5bc82b41-m4a",_type:h},caption:{_type:o,content:[{_key:"c1fb4f3d6b6c",_type:e,children:[{_key:"66d03154fc66",_type:a,marks:[n],text:bj},{_key:"4566826a8cd6",_type:a,marks:[n,g],text:bp},{_key:"269daacdd3c1",_type:a,marks:[n],text:" read by James Rushford, 2022."}],markDefs:[],style:f}]}},shrink:y},{_key:"7d7429d9bf2d",_type:I,img:{_type:u,asset:{_ref:"image-305ef6198e0777273af3c8301334d490a1b0d47c-3056x2816-tif",_type:h},caption:{_type:o,content:[{_key:"67a61066d768",_type:e,children:[{_key:"282f0233748c0",_type:a,marks:[n],text:"EN: Larry Johnson, "},{_key:"282f0233748c1",_type:a,marks:[g,n],text:aET},{_key:"282f0233748c2",_type:a,marks:[n],text:", 2007. Color photograph framed, 57.63 x 62.63 x 1.5 inches \u002F 146,4 x 159,1 x 3,8 cm. Courtesy of David Kordansky Gallery, Los Angeles."}],markDefs:[],style:f},{_key:"952f25332216",_type:e,children:[{_key:"cca39bad1680",_type:a,marks:[n],text:"DE: Larry Johnson, "},{_key:"6da5081bc8d00",_type:a,marks:[g,n],text:aET},{_key:"6da5081bc8d01",_type:a,marks:[n],text:", 2007. Farbfotografie, gerahmt: 146,4 x 159,1 x 3,8 cm. Mit freundlicher Genehmigung der David Kordansky Gallery, Los Angeles.\n"}],markDefs:[],style:f},{_key:"5fb6c269770a",_type:e,children:[{_key:"8652fa4fa9e30",_type:a,marks:[n],text:"Against a white background, a pencil-drawn cartoon donkey looks back at the hand drawing it. The eraser at the end of a pencil rubs into the donkey's anus. The donkey smiles, almost excited by the touch of the artist."}],markDefs:[],style:f},{_key:"27d96b71da03",_type:e,children:[{_key:"0363572665d0",_type:a,marks:[],text:p}],markDefs:[],style:f}]}},size:am},{_key:"22d4a9690e36",_type:at,audioFile:{_type:J,asset:{_ref:"file-6a9c8600e23b6aa25f8e784a35708e24f172c528-m4a",_type:h}
32,caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:em,_type:a,marks:[g,n],text:"The gates of Béla sEI "},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"1f50fcbe31b7",_type:w,leftCol:{_type:j,content:[{_key:aEU,_type:e,children:[{_key:aEV,_type:a,marks:[],text:"Part I: Onos Lyras, or: The Donkey with the Lyre"}],markDefs:[],style:ac},{_key:"bef0dbf5cb6c",_type:e,children:[{_key:"8d56ec7f2df0",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"7bc4e1e13f21",_type:e,children:[{_key:"9a4480ff7943",_type:a,marks:[],text:"I have long been fascinated with donkeys. And even though the animal has been accompanying me for quite a while—or else I have been carrying it around with me for quite a while—I find it difficult to clearly define my donkey, to give it shape, to position it. This calls to mind the donkey’s often-invoked stubbornness, and a certain stuffed donkey comes onto the scene—but more on that later. One thing’s for certain: enough has already been expressed here to suggest that the donkey will prove to be a very complex and resistant companion on our journey. What’s more, it will even come to resemble a kind of trickster, veering into the tragicomic, the melancholic, and even the depressing. Who or what, then, is the donkey? What distinguishes it and what makes it so difficult to pin down?"}],markDefs:[],style:f},{_key:aEW,_type:e,children:[{_key:aEX,_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:aEY,_type:e,children:[{_key:aEZ,_type:a,marks:[],text:"Teil I: Onos Lyras oder der Esel mit der Leier"}],markDefs:[],style:ac},{_key:"10c31ca704ff",_type:e,children:[{_key:"42e346e77041",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"592c9093e4d8",_type:e,children:[{_key:"75418965fdc3",_type:a,marks:[],text:"Die Faszination mit dem Esel verfolgt mich seit geraumer Zeit. Und obwohl mich das Tier schon länger begleitet, oder ich es schon länger mit mir herumtrage, fällt es mir schwer, meinem Esel eine Silhouette zu geben, ihn in Stellung zu bringen, zu positionieren. Die viel beschworene Sturheit des Esels kommt in den Sinn und ein ausgestopfter Esel betritt die Bühne, doch dazu später mehr. Sicher ist, soviel sei an dieser Stelle bereits verraten, dass sich der Esel als ein recht komplexer und widerständiger Begleiter erweisen wird. Mehr noch: Er rückt in eine gewisse Nähe zum Trickster, zum Tragikomischen und zur Melancholie oder Depression. Wer oder was ist also der Esel? Was zeichnet ihn aus und was macht es so schwer, ihn zu fassen?"}],markDefs:[],style:f},{_key:"bc9cf7e6e57f",_type:e,children:[{_key:"85fdce1e69ac",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:aE_,l:.416165625,s:.35162532945867403},hsv:{_type:T,a:t,h:aE_,s:.5203,v:.5625},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"ed10c99b575c",_type:w,leftCol:{_type:j,content:[{_key:"76df8def2509",_type:e,children:[{_key:"c4a6d65cb9ab0",_type:a,marks:[],text:"Let’s begin with the most persistent attribute of the donkey—its stubbornness. This can be explained by evolutionary biology: unlike horses, donkeys do not flee from predators. In the rugged desert borderlands of northern Africa, the donkey’s original home, an overly hasty attempt to flee through the boulder-strewn and rocky desert wastes posed a greater threat than directly facing up to an attacker. Against this backdrop, the donkey’s obstinacy appears as neither indifference nor stupidity, but instead as a survival mechanism that is necessarily oriented to its given environment. Nonetheless, the donkey usually seems to get in the way, for better or for worse, both for itself as well as for us."},{_key:"b14d0f6dd478",_type:a,marks:[s],text:bF}],markDefs:[],style:f},{_key:"1a91850b6dbc",_type:e,children:[{_key:"f68b880e4a3e",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"e277b93df37e",_type:e,children:[{_key:"5e8f8d1113d70",_type:a,marks:[],text:"Beginnen wir mit der hartnäckigsten Zuschreibung des Esels – seiner Sturheit. Für diese gibt es eine evolutionsbiologische Erklärung: Im Gegensatz zu Pferden sind Esel keine Fluchttiere. In den schroffen Wüstengrenzregionen Nordostafrikas, der ursprünglichen Heimat des Esels, wäre die überhastete Flucht durch Geröll- und Steinwüsten gefährlicher als sich einer Bedrohung zu stellen. Der Starrsinn des Esels ist vor diesem Hintergrund weder Gleichgültigkeit noch Dummheit, sondern ein Überlebensmechanismus, der sich notwendigerweise an den gegebenen Umweltbedingungen ausrichtet. Nichtsdestotrotz steht der Esel meist im Weg, zum Guten und zum Schlechten für uns und für ihn selbst."},{_key:"ec3182ac31cb",_type:a,marks:[s],text:bF}],markDefs:[],style:f},{_key:"b7adf43a2da4",_type:e,children:[{_key:"0e09bbde615c",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"2404bbbde7b1",_type:w,leftCol:{_type:j,content:[{_key:"49c53391d100",_type:e,children:[{_key:"0784544225890",_type:a,marks:[],text:"During more than 5000 years of shared cultural history between donkey and human, our long-eared companion with large dark eyes, long lashes, and full lips has accumulated a seemingly very diverse repertoire of ascriptions, attributes, and associations. And although the economic significance of the donkey as a beast of burden has greatly diminished in industrialized societies, it appears as if the donkey—and above all its braying—has long since been seared into the cultural memory. Music theorist and passionate donkey historian Martin Vogel, whose 1973 work "},{_key:"0784544225891",_type:a,marks:[g],text:"Onos Lyras, or: The Donkey with the Lyre"},{_key:"0784544225892",_type:a,marks:[],text:" is an impressive testimony to the animal, places our long-eared companion at the center of early cultural history, whose origin he locates in the culture of nomadic desert peoples: the Persian, Hebrew, and Sumerian “Donkey Men”. Also of central importance to Vogel’s study are the three descendants of Cain, especially Jubal, the biblical “inventor of music”. Two other equally important inventions are also attributed to his brothers, Jabal and Tubal-cain, who are described as the forefathers of nomadic living and the first blacksmiths respectively. Vogel sees the donkey as the link between these three accomplishments, as well as their actual catalyst, concluding that it was the donkey breeders who were constantly advancing into new territories as itinerant shepherds, blacksmiths, and musicians. Unassuming, sure-footed, with no fear of heights, the donkey thus opened up not only new places but new ways of life to these tribes, long before the domestication of the horse or camel. It is thus not particularly surprising, Vogel goes on to argue, that the donkey had a decisive impact on these peoples’ thoughts, actions, and even religious beliefs. Following this line of thought, the origins of pre-Christian donkey worship form an additional focal point for Vogel’s research, along with the prevalence of donkey deities in antiquity, from the ancient Egyptian god Set right through to Yahweh, whose name the donkey’s cry supposedly echoes."},{_key:"df5b7537ce1a",_type:a,marks:[s],text:bG}],markDefs:[],style:f},{_key:"272bc67993a9",_type:e,children:[{_key:"d2093dfc3d47",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"470f3131eaa3",_type:e,children:[{_key:"9d708e1201870",_type:a,marks:[],text:"In über 5000 Jahren gemeinsamer Kulturgeschichte von Esel und Mensch hat unser langohriger Begleiter mit den großen dunklen Augen, langen Wimpern und vollen Lippen insgesamt ein sehr heterogen anmutendes Repertoire an Besetzungen, Zuschreibungen und Assoziationen angesammelt. Und wenngleich die wirtschaftliche Bedeutung des Esels als Lasttier in den Industriegesellschaften stark rückläufig ist, scheint es so, als habe sich der Esel und allen voran sein Schrei schon längst in das kulturelle Gedächtnis eingebrannt. Der Musiktheoretiker und passionierte Eselhistoriker Martin Vogel, der dem Langohr in "},{_key:"9d708e1201871",_type:a,marks:[g],text:"Onos Lyras: Der Esel mit der Leier "},{_key:"9d708e1201872",_type:a,marks:[],text:"(1973)"},{_key:"9d708e1201873",_type:a,marks:[g],text:d},{_key:"9d708e1201874",_type:a,marks:[],text:"ein beeindruckendes Zeugnis ausstellt, rückt unseren Begleiter gar ins Zentrum der frühzeitlichen Kulturgeschichte, deren Wiege er in der Kultur nomadischer Wüstenvölker, den persischen, hebräischen und sumerischen “Eselmännern”, ausmacht. Im Zentrum von Vogels Untersuchung stehen dabei die drei Abkömmlinge des Kain, insbesondere Jubal, der biblische Urvater der Musik. Seinen Brüdern Jabal und Tubalkain werden zwei ebenso wichtige Erfindungen zugeschrieben: die nomadische Lebensweise und die Metallverarbeitung. Im Esel sieht Martin Vogel das Bindeglied und den eigentlichen Katalysator dieser drei Errungenschaften und kommt zu dem Schluss, dass es die Eselzüchter*innen waren, die als Wanderhirt*innen, Wanderschmied*innen und Wandermusiker*innen in immer neue Gebiete vorstießen. Lange vor der Domestizierung von Pferd und Kamel erschloss der genügsame, trittsichere und schwindelfreie Esel jenen Stämmen dabei nicht nur neue Orte, sondern auch Lebensformen. Folgt man der Argumentation des Autors ist es daher nicht allzu verwunderlich, dass der Esel das Denken, Handeln und sogar den Glauben die
32ser Menschen bestimmte. Vor diesem Hintergrund liegt ein weiterer Fokus von Vogels Recherche auf den Ursprüngen vorchristlicher Eselkulte sowie den weit verbreiteten Eselgottheiten des Altertums vom altägyptischen Gott Seth bis hin zu Jahwe, in dessen Name gar der Schrei des Tieres nachklingen soll."},{_key:"385c92115a45",_type:a,marks:[s],text:bG}],markDefs:[],style:f},{_key:"566df319a8ca",_type:e,children:[{_key:"d952640c679d",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"bdd79c5d6de60293d15cc9d4417b0928",_type:w,leftCol:{_type:j,content:[{_key:"0742974479c7",_type:e,children:[{_key:"7b3ef1b88c140",_type:a,marks:[],text:"In actual fact, the donkey’s cry has always been considered an expression of strength, and although the donkey has always been a beast of burden—one subjected to whippings and mistreatment—the donkey of antiquity is described an animal so bristling with power and courage that it was sometimes capable of frightening off bears and wolves. The donkey was equally considered an erotic and fertile animal, possessed of an incredible virility, its cry an expression of ecstatic lust. Here it is worth briefly calling to mind the astounding and multi-faceted cry of the donkey, which among other associations is reminiscent of squeaking water-pumps, dog-barks, human groans, and the screeches of chimpanzees."},{_key:"b0ea3fc5218e",_type:a,marks:[s],text:bH},{_key:"26eef4859aea",_type:a,marks:[],text:" In his 1909 work "},{_key:"7b3ef1b88c141",_type:a,marks:[g],text:SE},{_key:"7b3ef1b88c142",_type:a,marks:[],text:" (The Animals of the Ancients), Otto Keller writes:"}],markDefs:[],style:f},{_key:"e8b19ad8d24b",_type:e,children:[{_key:"36d905b6b74d",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"7d8aaaa1ee80",_type:e,children:[{_key:"94b5d046a5160",_type:a,marks:[],text:"Tatsächlich galt der Schrei des Esels seit jeher als Ausdruck der Stärke und wenngleich der Esel immer auch Arbeitstier war, immer auch Gepeitschter und Geschundener, so ist der Esel der Antike als ein von Kraft und Neugier nur so strotzendes Tier überliefert, das mitunter Bären und Wölfe in die Flucht schlägt. Ebenso galt der Esel als erotisches beziehungsweise geiles Tier, als Träger einer unerhörten Potenz, sein Schrei als Ausdruck ekstatischer Lust. Hier lohnt es, sich den ganz erstaunlichen und facettenreichen Schrei des Esels kurz ins Gedächtnis zu rufen, der neben weiteren Assoziationen an quietschende Wasserpumpen, Hundebellen, menschliches Stöhnen und die Laute von Gibbon-Affen erinnert."},{_key:"3a968c331651",_type:a,marks:[s],text:bH},{_key:"df61e1af4b9d",_type:a,marks:[],text:" Otto Keller schreibt in "},{_key:"94b5d046a5161",_type:a,marks:[g],text:"Die antike Tierwelt "},{_key:"94b5d046a5162",_type:a,marks:[],text:"(1909):"}],markDefs:[],style:f},{_key:"170f851258d7",_type:e,children:[{_key:"2a4f06e21705",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"d33eec8823905801c1852f88efb69cf8",_type:at,audioFile:{_type:J,asset:{_ref:"file-ff1a5dd54a551d24f60572af6123781839114bae-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:"b055d7424965",_type:a,marks:[n,g],text:"Donkey sounds"},{_key:em,_type:a,marks:[g,n],text:d},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"38c5d9b3a59a",_type:w,leftCol:{_type:j,content:[{_key:"1a96e9b9024b",_type:e,children:[{_key:"d6b076415b220",_type:a,marks:[],text:"The wild donkey, along with the tame domesticated donkey of inner Asia Minor, were characterized by gaiety, swiftness, and prodigality, and were consequently the perfect animal for the love-stricken and rapturous Dionysus and his retinue of Silenus and satyrs, who just like the characters of our carnival fanfare illustrate the indelible desire of humans to take a full draught now and then from the cup of unabashed cheer, exuberance, and sensual pleasure."},{_key:"a4a42f65a5a0",_type:a,marks:[s],text:da}],markDefs:[],style:au}
32,{_key:"db2278e9ff2a",_type:e,children:[{_key:"d10124df9e64",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"6db25b541100",_type:e,children:[{_key:"e7b1803025300",_type:a,marks:[],text:"“Der wilde Esel und auch der einheimische zahme Esel des inneren Kleinasiens zeichneten sich aus durch Lustigkeit, Schnelligkeit, Üppigkeit und waren sonach das richtige Tier für den liebestollen rauschliebenden Dionysos und sein Gefolge von Silenen und Satyrn, die ja doch gleich unserem Fastnachtsrummel das untilgbare Bedürfnis des Menschen illustrieren, dann und wann wieder einen vollen Zug aus dem Becher des ungenierten Frohsinns, der Ausgelassenheit, der Sinnenlust zum Munde zu führen.”"},{_key:"ddb5bba20b66",_type:a,marks:[s],text:"4 "}],markDefs:[],style:au},{_key:"39d3aa618d4b",_type:e,children:[{_key:"b2a12ba230c2",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"47619ac408ed",_type:w,leftCol:{_type:j,content:[{_key:"c12516b117cb",_type:e,children:[{_key:"d3d95190b6230",_type:a,marks:[],text:"The donkey as the heraldic animal of Dionysus, the Greek god of wine, pleasure, fertility, and insanity—who would have thought?"}],markDefs:[],style:f},{_key:"c693c6684247",_type:e,children:[{_key:"4cd97b230079",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"a93880028664",_type:e,children:[{_key:"945ea438eb390",_type:a,marks:[],text:"Der Esel als Wappentier des Dionysos, des griechischen Gott des Weines, der Freude, der Fruchtbarkeit und des Wahnsinns—wer hätte das gedacht?"}],markDefs:[],style:f},{_key:"f8c92e053bfe",_type:e,children:[{_key:"3575ebe7b593",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"ebcc0894e5a3",_type:I,img:{_type:u,asset:{_ref:"image-90a78f19bd0d743e072ee5f7e7d9e3b81ac92c29-472x454-jpg",_type:h},caption:{_type:o,content:[{_key:"5e64487cc81a",_type:e,children:[{_key:"5d100cb4a0f7",_type:a,marks:[],text:"EN: "},{_key:"864c298f4e5c",_type:a,marks:[g],text:"Lucius takes human form. "},{_key:"1daec3fc79b1",_type:a,marks:[],text:"Illustration from a 1345 edition of the "},{_key:"527139b32e2b",_type:a,marks:[g],text:aE$},{_key:"9cae2b5f44e7",_type:a,marks:[],text:" now housed in the Vatican Library in Rome."}],markDefs:[],style:f},{_key:"db0eb4a0c1c4",_type:e,children:[{_key:"d7d8b60ae17c",_type:a,marks:[],text:"DE:"},{_key:"0df7de6756b3",_type:a,marks:[g],text:" Lucius nimmt menschliche Form an. "},{_key:"0702697f4815",_type:a,marks:[],text:"Illustration einer Ausgabe der "},{_key:"ef31b5f3c2cb1",_type:a,marks:[g],text:aFa},{_key:"ef31b5f3c2cb2",_type:a,marks:[],text:" von 1345, die sich heute in der Vatikanischen Apostolischen Bibliothek in Rom befindet. "}],markDefs:[],style:f},{_key:"b67aabc2ffab",_type:e,children:[{_key:"d576bfd3801e",_type:a,marks:[aFb],text:dm}],markDefs:[{_key:aFb,_type:q,blank:i,href:"https:\u002F\u002Fcommons.wikimedia.org\u002Fwiki\u002FFile:Apuleius_Metamorphoses_c._65.jpg"}],style:f},{_key:"c37f5895a57e",_type:e,children:[{_key:"1e46e02dd7cc",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"97932ec3bc29",_type:e,children:[{_key:"361c9eb7e8760",_type:a,marks:[],text:"A peach coloured ocular shape encompasses the image. Inside of it an emaciated person with long flowing hair leans over into thinly painted lines that resemble the tentacles of a squid, with its eye looking down at the human bowing before it. A crescent below and above edge the circle. Outside of the confines of the circle are ochre-finished brush strokes invoking textures of dried grass."}],markDefs:[],style:f}]}},size:am},{_key:"52c9de85d5be",_type:w,leftCol:{_type:j,content:[{_key:"b1b34c5e82ca",_type:e,children:[{_key:"b6216d117ead0",_type:a,marks:[],text:"A further example of how the donkey was perceived in antiquity can be found in Apuleius’ novel "},{_key:"b6216d117ead1",_type:a,marks:[g],text:SF},{_key:"b6216d117ead2",_type:a,marks:[],text:" (170 AD), which first appeared under the title "},{_key:"b6216d117ead3",_type:a,marks:[g],text:aE$},{_key:"b6216d117ead4",_type:a,marks:[],text:", alluding to the work by Ovid. Apuleius adapted the story from a Greek satirist named Lucian, augmenting it with an array of supplementary stories, including that of Cupid and Psyche, and introducing an incredibly modern first-person narrator in the form of Lucius. The driving force of the narrative is the protagonist’s curiosity and appetite for risk; fascinated by the dark arts of the sorceress Pamphile, Lucian attempts a failed spell which results in him being turned into a donkey. In donkey form, he subsequently ventures forth on a kind of satirical road trip, encountering robber bandits, slaves, androgynous begging monks, tragic lovers, and a zoophilic benefactress. Ultimately growing weary of his existence and with little hope for his salvation, Lucius offers a prayer to mother goddess Isis, who returns him to human form. Impressed by the goddess’s power and eager to be initiated into the secrets of her power, the transformed figure undergoes a process of purification and henceforth lives as a high priest of an Isis cult in Rome."}],markDefs:[],style:f},{_key:"701ad9fe6a66",_type:e,children:[{_key:"33d916f167d5",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"852bcb9c28bd",_type:e,children:[{_key:"fcf13e70b1230",_type:a,marks:[],text:"Eine weitere Überlieferung des antiken Eselbildes findet sich in Apuleius’ Eselroman "},{_key:"fcf13e70b1231",_type:a,marks:[g],text:"Der Goldene Esel"},{_key:"fcf13e70b1232",_type:a,marks:[],text:" (170 n.Chr.), der in Anlehnung an das literarische Werk Ovids zunächst unter dem Titel "},{_key:"fcf13e70b1233",_type:a,marks:[g],text:aFa},{_key:"fcf13e70b1234",_type:a,marks:[],text:" erschien. Den literarischen Stoff übernimmt Apuleius von dem griechischen Satiriker Lukian, erweitert die Vorlage allerdings um eine Reihe von Nebenerzählungen, darunter die Geschichte von Amor und Psyche und führt mit dem Protagonisten Lucius einen erstaunlich modernen Ich-Erzähler ein. Die treibende Kraft der Erzählung ist die Neugier und Risikobereitschaft des Protagonisten, der fasziniert von den dunklen Künsten der Zauberin Pamphile in Folge eines schiefgegangenen Zaubers in einen Esel verwandelt wird. In Eselgestalt erlebt er eine Art satirischen Roadtrip zwischen Räuberbanden, Versklavung, androgynen Bettelmönchen, tragisch Verliebten und einer Liaison mit einer zoophilen Gönnerin. Seines Schicksals schließlich überdrüssig und ohne Hoffnung auf Erlösung ruft Lucius die Muttergöttin Isis an, die seine ursprüngliche Gestalt wiederherstellt. Beeindruckt von der Macht der Göttin und begierig darauf, in die Geheimnisse ihrer Macht eingeweiht zu werden, durchläuft der Zurückverwandelte einen Läuterungsprozess und lebt fortan als Hohepriester eines römischen Isiskults."}],markDefs:[],style:f},{_key:"dc7e7fc19d1a",_type:e,children:[{_key:"87194d3d225c",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"475e3d93133f",_type:w,leftCol:{_type:j,content:[{_key:"df38bcd263de",_type:e,children:[{_key:"04888399b0960",_type:a,marks:[],text:"Although the novel is obviously designed to entertain—the prologue, for example, ends with the words “Give me your ear, reader: you will enjoy yourself.”"},{_key:"1a5224dc147f",_type:a,marks:[s],text:bI},{_key:"4cbee8dc0277",_type:a,marks:[],text:"—at the same time it articulates a very serious interest in the abysmal and the marginalized, in violence and the societal periphery. In the course of the story, the donkeyfied Lucius seems permanently torn between curious astonishment, amusement, and dismay at the fateful turmoil and human cruelty that only appears to become fully apparent to him after his transformation. It is perhaps worth highlighting that the protagonist’s attributes, in particular his curiosity, thirst for action, and roguelike nature, correspond with those ascribed to the donkey in antiquity."}],markDefs:[],style:f},{_key:"0232e1434ae2",_type:e,children:[{_key:"160942009b9a",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"1cf1e0dded44",_type:e,children:[{_key:"e6dbdef6e1a20",_type:a,marks:[],text:"Der Roman ist durchaus als unterhaltende Prosa angelegt – der Prolog etwa endet mit den Worten “Jetzt beginnt es. Merke auf [Leser*in], es wird etwas zu lachen geben.”"},{_key:"a834fe6b0a15",_type:a,marks:[s],text:bI},{_key:"ccd4743962de",_type:a,marks:[],text:"—entwickelt jedoch gleichzeitig ein sehr ernsthaftes Interesse am Abgründigen und Randständigen, an Gewalt und der gesellschaftlichen Peripherie. Der zum Esel verwandelte Lucius scheint dabei permanent hin- und hergerissen zwischen neugierigem Staunen, Belustigung und Entsetzen über die schicksalhaften Wirren und menschlichen Grausamkeiten, die sich dem Verwandelten erst in Eselgestalt vollständig zu eröffnen scheinen. Die Attribute des Protagonisten, allen voran seine Neugier, sein Tatendrang ebenso wie seine Spitzbübigkeit, decken sich dabei mit den antiken Zuschreibungen des Esels."}],markDefs:[],style:f},{_key:"13a71c84cdfc",_type:e,children:[{_key:"d5fee3501188",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"ddadd6b0bf104759cecd42cbdc6b6063",_type:at,audioFile:{_type:J,asset:{_ref:"file-6900638f841c101307706529df34a2f235532ecb-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:"ff5934b63a21",_type:a,marks:[n,g],text:"Eric I"},{_key:em,_type:a,marks:[g,n],text:d},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"80aed56da877",_type:I,img:{_type:u,asset:{_ref:"image-c7c81c3b10858b7e904aeb259ee939ec4f6a7605-2880x2880-jpg",_type:h},caption:{_type:o,content:[{_key:"598da5a43436",_type:e,children:[{_key:"7f173b2ec56d0",_type:a,marks:[n],text:"EN: Donkeys in Entrepierres, France."}],markDefs:[],style:f},{_key:"b429012053a3",_type:e,children:[{_key:"8f3c910542ed",_type:a,marks:[n],text:"DE: Esel in Entrepierres, Frankreich"}],markDefs:[],style:f},{_key:"da54fd61c6f4",_type:e,children:[{_key:"dd0d21909b2a",_type:a,marks:[aFc,n],text:dm}],markDefs:[{_key:aFc,_type:q,blank:i,href:"https:\u002F\u002Fwww.flickr.com\u002Fphotos\u002F49309262@N07\u002F13609298363"}],style:f},{_key:"f95fa65ad782",_type:e,children:[{_key:"e70892eb068f",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"bc8f65766125",_type:e,children:[{_key:"d8494d7e8a230",_type:a,marks:[],text:"Two donkeys, side by side leaned over grazing. Their faces are touching, making it seem as if they are reaching for the same blade of grass. Behind them a blurry background of a grey countryside."}],markDefs:[],style:f}]}},size:am},{_key:"c42c2d45086e",_type:w,leftCol:{_type:j,content:[{_key:"9d5ccacda17c",_type:e,children:[{_key:"af862db25bc30",_type:a,marks:[],text:"With the emergence of Christianity, the figure of the donkey experienced a momentous reinterpretation, becoming taciturn and essentially silent. If it spoke at all, it was as a messenger of a higher power. Its virility, erotic power, and curiosity fell victim to a subservient introversion. But even Christianity was unable to entirely do without the donkey, and so it became the pacifist servant of its savior Jesus Christ, who rode into Jerusalem on Palm Sunday on a female donkey’s back. In recognition of its good service to Christianity, so the story goes, the donkey was rewarded with a special symbol: a cross-shaped coat pattern across its back and shoulders, the so-called cross 
32stripe or dorsal stripe. As a pacifist anti-war horse, the donkey was from then on endowed with a stoic calm and monastically silent manner. As a born bearer of heavy burdens and great pains it comes closer to the company of martyrs and ascetic mystics—a connection that we will encounter again at a later stage."}],markDefs:[],style:f},{_key:"3e8c7dba53bc",_type:e,children:[{_key:"f6b44f3681bf",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"c08d9fe752eb",_type:e,children:[{_key:"42a9e5abc39f0",_type:a,marks:[],text:"Mit dem Auftauchen des Christentums erfährt der Esel eine folgenreiche Umdeutung, er wird wortkarg und stumm. Wenn überhaupt spricht er als Botschafter einer höheren Macht. Seine Potenz, erotische Kraft und Neugier fallen einer unterwürfigen Introvertiertheit zum Opfer. Doch auch das Christentum kann nicht auf den Esel verzichten und so wird er zum pazifistischen Diener und Reittier des Erlösers Jesus Christus, der am Palmsonntag auf dem Rücken einer Eselstute nach Jerusalem einreitet. Im Anschluss an seinen guten Dienst am Christentum, so die Geschichte, wurde dem Esel eine symbolische Auszeichnung verliehen: eine kreuzförmige Fellzeichnung auf Rücken und Schultern, der sogenannte Kreuz- oder Aalstrich. Als pazifistisches Anti-Schlachtross ist der Esel fortan mit einer stoischen Ruhe und mönchischen Schweigsamkeit ausgestattet. Als geborener Träger großer Lasten und Schmerzen rückt er in die Nähe der Märtyrer*innen und asketischen Mystiker*innen—ein Bezug, der uns an anderer Stelle erneut begegnen wird."}],markDefs:[],style:f},{_key:"ed7cbb7e12b4",_type:e,children:[{_key:"48ad700b3938",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"f43630351b19",_type:I,img:{_type:u,asset:{_ref:aEP,_type:h},caption:{_type:o,content:[{_key:"f2b156944ea8",_type:e,children:[{_key:"46244ae8100f0",_type:a,marks:[n],text:"EN: Copperplate engraving after B. Porta. Appears in Johann Caspar Lavater, "},{_key:"46244ae8100f1",_type:a,marks:[g,n],text:aFd},{_key:"46244ae8100f2",_type:a,marks:[n],text:" (Physiognomic Fragments), Leipzig 1775."}],markDefs:[],style:f},{_key:"40e7df6ab662",_type:e,children:[{_key:"c471d505ea530",_type:a,marks:[n],text:"DE: Kupferstich nach B. Porta. Erschienen in: Johann Caspar Lavater, "},{_key:"522ee14cc1a71",_type:a,marks:[g,n],text:aFd},{_key:"522ee14cc1a72",_type:a,marks:[n],text:", Leipzig 1775."}],markDefs:[],style:f},{_key:"96ed0eb86928",_type:e,children:[{_key:"d2f5be4d42540",_type:a,marks:[aFe,n],text:dm}],markDefs:[{_key:aFe,_type:q,blank:i,href:"https:\u002F\u002Fwellcomecollection.org\u002Fworks\u002Ffqhs6rze\u002Fimages?id=fvcatxsy"}],style:f},{_key:"8f7dd50a4edd",_type:e,children:[{_key:"2900b0188c9a",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"37be739a26e2",_type:e,children:[{_key:"d1a8bfd548040",_type:a,marks:[],text:"A copperplate engraving with four illustrations, two on the top and two underneath. The first is a side view of a donkey’s head, and the second is the front view. The illustration on the bottom left is the side view of what appears to be a man transforming into a donkey - three frames of his face show different variations of the transformation. His cheekbones and nose elongate, his eyes become more animal-like, and his beard and hair thin out and become fur. The final illustration is a front view of the transformed man. Between the top and bottom images is the text “Figure humaine comparée avec celle de l'âne.”"}],markDefs:[],style:f}]}},size:am},{_key:"0ac43763f433",_type:w,leftCol:{_type:j,content:[{_key:"06c51ffcfd84",_type:e,children:[{_key:"c1a30b1ec5c80",_type:a,marks:[],text:"The responsibility for the donkey being ascribed the attribute of devoted stupidity ultimately lies at the feet of physiognomy, the pseudoscientific linking of physiological features with psychological character traits whose inglorious history stretches from antiquity through to the era of algorithm-based facial recognition. According to this practice, this image is only reinforced by their long, flexible ears and flat forehead. In this respect the donkey receives the same treatment as most other herbivores, who all tend to be presented as goofy, narrow minded and weak due to their gentleness, as though they required leadership by a sovereign. As problematic as the physiognomists’ schematization of animals may be, their images do present the topos of the transformation from human to animal and animal to human once again—the metamorphosis perpetuates itself."},{_key:"0c307008a3ca",_type:a,marks:[s],text:bJ}],markDefs:[],style:f},{_key:"117213f446ac",_type:e,children:[{_key:"b4b07b7a7e42",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"cc414719107b",_type:e,children:[{_key:"21c5625d079c0",_type:a,marks:[],text:"Die Physiognomik, also die pseudowissenschaftliche Verkettung von physiologischen Merkmalen mit psychologischen Charakterzügen, deren unrühmliche Geschichte von der Antike bis in Zeiten algorithmischer Gesichtserkennung reicht, ist schließlich für die Zuschreibung der devoten Dummheit des Esels verantwortlich. Dabei wurden ihm vor allem seine langen flexiblen Ohren und die flache Stirn zum Verhängnis. Dem Esel geht es damit nicht anders als den meisten Pflanzenfressern, die ihrer Sanftheit wegen alle etwas vertrottelt, kleingeistig und schwach dargestellt werden, ganz so, als ob sie der Führung durch einen Souverän bedürften. So problematisch die Tierschemata der Physiognomiker*innen auch sein mögen, so eröffnen die Bilder einmal mehr den Topos der Verwandlung von Mensch zu Tier und Tier zu Mensch—die Metamorphose schreibt sich fort."}
32,{_key:"b2dadda0fc1f",_type:a,marks:[s],text:bJ}],markDefs:[],style:f},{_key:"f14546142460",_type:e,children:[{_key:"587a9a797aa7",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"c6c3f7b708b9",_type:w,leftCol:{_type:j,content:[{_key:"cbacc2ab9de8",_type:e,children:[{_key:"c71ac86ec32b0",_type:a,marks:[],text:"In the end, the physiognomic attributes of stupidity and subservience only end up partly sticking to the figure of the donkey, and despite—or perhaps precisely because of—the drastic change in how it was reinterpreted and reassigned a role by Christianity, there have subsequently been a number of anachronistic and subversive forms of onolatry, or donkey worship, practiced around the world that express the ambivalence of donkey-related imagery and metaphor. In keeping with the tradition of "},{_key:"c71ac86ec32b1",_type:a,marks:[g],text:SF},{_key:"c71ac86ec32b2",_type:a,marks:[],text:", donkey figures in literature repeatedly stray from the beaten path of bourgeois society. Donkey figures are frequently portrayed as having artistic leanings, although this aptitude is often expressed covertly or in an ironically refracted manner. Author Jutta Person, whose 2013 book "},{_key:"c71ac86ec32b3",_type:a,marks:[g],text:"Esel: Ein Portrait"},{_key:"c71ac86ec32b4",_type:a,marks:[],text:" (Donkey: A Portrait) is a wonderfully compact cultural history of the donkey, draws attention to a literary "},{_key:"c71ac86ec32b5",_type:a,marks:[g],text:aFf},{_key:"c71ac86ec32b6",_type:a,marks:[],text:" that many would likely be familiar with: the donkey of the “Town Musicians of Bremen”, who after a lifetime of hard work runs away from its master to make a living as a lyre player in the city of Bremen. Not at all submissive, in a conversation with an aging guard-dog it comes to the following conclusion: “You can find something better than death anywhere.”"},{_key:"0b78e815843d",_type:a,marks:[s],text:bK}],markDefs:[],style:f},{_key:"e1d4b931ca41",_type:e,children:[{_key:"fd5a7631e32f",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"a9d006a8f0e0",_type:e,children:[{_key:"292bbfac97720",_type:a,marks:[],text:"Letztlich bleiben auch die Zuschreibungen der Physiognomik, also die Dummheit und Unterwürfigkeit des Esels, nur teilweise an ihm haften und trotz oder vielleicht gerade aufgrund der drastischen Umdeutungen und Neubesetzungen finden sich quer durch die Epochen eine Vielzahl anachronistischer und subversiver Formen der Eselverehrung, die die Ambivalenz der Eselmetaphorik zum Ausdruck bringen. Ganz in der Tradition des Eselromans verlassen die literarischen Eselfiguren immer wieder die ausgetretenen Pfade der bürgerlichen Gesellschaft. Überhaupt wird dem Esel durchaus eine Anlage zum Musischen zugeschrieben, wenngleich sich diese Begabung oftmals versteckt oder ironisch gebrochen äußert. Die Autorin Jutta Person, die mit "},{_key:"292bbfac97721",_type:a,marks:[g],text:"Esel. Ein Portrait "},{_key:"292bbfac97722",_type:a,marks:[],text:"(2013)"},{_key:"292bbfac97723",_type:a,marks:[g],text:d},{_key:"292bbfac97724",_type:a,marks:[],text:"eine wunderbar kompakte Kulturgeschichte des Esels vorgelegt hat, macht uns in diesem Kontext auf einen literarischen "},{_key:"292bbfac97725",_type:a,marks:[g],text:aFf},{_key:"292bbfac97726",_type:a,marks:[],text:" aufmerksam, den Esel der Bremer Stadtmusikanten, der nach langen Jahren der Arbeit den Hof seines Herren verlässt, um fortan als leierspielender Bremer Stadtmusikant seinen Lebensunterhalt zu bestreiten. So gar nicht devot kommt er im Gespräch mit einem alternden Wachhund zu folgendem Schluss: “Etwas besseres als den Tod findest du überall."},{_key:"292bbfac97727",_type:a,marks:[g],text:aFg},{_key:"1015c301a066",_type:a,marks:[g,s],text:bK}],markDefs:[],style:f},{_key:"4b12be9f5d88",_type:e,children:[{_key:"e89277187036",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"2dc47efda671",_type:w,leftCol:{_type:j,content:[{_key:"9b7956e22cee",_type:e,children:[{_key:"159db585997a0",_type:a,marks:[],text:"The emancipatory power embodied by the donkey is also paralleled in the medieval Feast of the Ass, a kind of carnival with religious, humorous, and erotic elements that was a fixture of the liturgical calendar through to the High Middle Ages. In the transcript of a radio program produced for Süddeutsc
32he Rundfunk entitled "},{_key:"159db585997a1",_type:a,marks:[g],text:"Feasts of the Ass and of Fools: Medieval Music between the Church and Heresy"},{_key:"159db585997a2",_type:a,marks:[],text:", Wolfgang Lempfrid quotes from an unidentified historical source that details the proceedings of a Feast of the Ass:"}],markDefs:[],style:f},{_key:"56a88bfa2f99",_type:e,children:[{_key:"432ef1843aab",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"c6c5cc68915b",_type:e,children:[{_key:"5a52105b34c40",_type:a,marks:[],text:"Die emanzipatorische Kraft, die im Esel steckt, findet auch Entsprechung in den mittelalterlichen Eselmessen, einer Art Karnevalsveranstaltung mit religiösen, humorvollen und erotischen Aspekten, die bis ins Hochmittelalter fester Bestandteil des liturgischen Kalenders waren. Im Sendemanuskript eines Radiobeitrags des Süddeutschen Rundfunks mit dem Titel "},{_key:"5a52105b34c41",_type:a,marks:[g],text:"Von Narren- und Eselsfesten. Mittelalterliche Musik zwischen Kirche und Ketzerei "},{_key:"5a52105b34c42",_type:a,marks:[],text:"zitiert Wolfgang Lempfrid eine nicht näher bezeichnete historische Quelle zum Ablauf eines Eselsfests:"}],markDefs:[],style:f},{_key:"2051d6094e62",_type:e,children:[{_key:"aa1808d8eb02",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"a92a473650d5",_type:w,leftCol:{_type:j,content:[{_key:"837d3e959d84",_type:e,children:[{_key:"ee868d6a995b0",_type:a,marks:[],text:"The “false bishop” holds a festive service in the morning: as he gives the blessing, the remaining clergy dance around the sanctuary singing obscene songs dressed mostly as prostitutes, pimps, or musicians. When at the altar, the subdeacons eat sausages during the service and play dice and card games during the transfiguration ceremony. One of them substitutes the frankincense normally burnt in the censer for old shoe-soles and excrement in an attempt to overpower the priest reading the sermon with the stench. Service-books are held upside-down and rather than sing psalms and liturgical songs, the clergy instead mutter gibberish or impersonate livestock."},{_key:"7bf04a93750e",_type:a,marks:[s],text:dn}],markDefs:[],style:au},{_key:"7c6208995e4a",_type:e,children:[{_key:"cdc5ffee5a31",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"0929dafa1d06",_type:e,children:[{_key:"736586c04cbc0",_type:a,marks:[],text:"“Der Narrenbischof hält in der Früh einen feierlichen Gottesdienst und spricht den Segen, während die übrigen Geistlichen, meist als Dirnen, Kuppler oder Musikanten verkleidet, im Chorraum tanzen und springen und zotige Lieder singen. Die Subdiakone verzehren auf dem Altar Würste, und während der Wandlung spielen sie mit Karten und Würfeln. Einer legt ins Rauchfaß statt Weihrauch Stücke von alten Schuhsohlen und Exkremente, damit dem Messe-lesenden Priester der Gestank in die Nase steige. Sie halten die Bücher verkehrt und singen keine Psalmen und liturgische Gesänge, sondern murmeln unverständliche Worte oder blöken lautstark wie das Vieh.”"},{_key:"fcc42ac9979a",_type:a,marks:[s],text:dn}],markDefs:[],style:au},{_key:"1d6a41d1c073",_type:e,children:[{_key:"ea2ebfcd2810",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"5fa168c6b9c0",_type:w,leftCol:{_type:j,content:[{_key:"3390f9f5d4bb",_type:e,children:[{_key:"f22b9ac53db70",_type:a,marks:[],text:"It would be far too easy to see the livestock mentioned here as a metaphor for devoted stupidity or even subservience. Bearing a certain resemblance to the topos of the medieval death dance, these Feasts of the Ass appear as expressions of a kind of excess of vitality. What is invoked and adored in the donkey is here associated with a sinister corporeal force, an insistence of something non-verbal that counters the liturgy with nonsensical murmuring, ecstasy, and frenzy. Ultimately, there seems little to distinguish the donkey’s cap from the fool’s. Like the fool, whose outsider status at court makes him a tragicomic figure and the holder of ominous knowledge conveyed in a language existing at the edge of language and the edge of society, so the figure of the donkey has a peculiar solitariness about it—at least when in the company of humans."}],markDefs:[],style:f},{_key:"bb27aeb8dd3f",_type:e,children:[{_key:"dfa8322ae15c",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"f11cec787c86",_type:e,children:[{_key:"5fe60e9322660",_type:a,marks:[],text:"Es wäre wohl zu einfach, das Vieh hier als Metapher devoter Dummheit oder gar Unterwürfigkeit einzusetzen. In einer gewisse
32n Nähe zum Topos des mittelalterlichen Totentanzes kommt in den Eselsmessen eher eine Art Überschuss an Lebendigkeit zum Vorschein. Was im Esel aufgerufen und angebetet wird, steht erneut in Verbindung mit einer unheimlichen körperlichen Kraft, einer Insistenz eines Nichtsprachlichen, das der Liturgie das unsinnige Gemurmel, die Ekstase und den Rausch entgegensetzt. Schließlich ist auch der Sprung von der Esel- zur Narrenkappe nicht weit. Wie der Narr, dessen Außenseitertum am Hofe ihn zur tragikomischen Figur und zum Träger eines unheilvollen Wissens macht, vermittelt durch eine Sprache am Rand der Sprache und am Rand der Gesellschaft, haftet auch dem Esel eine sonderbare Einsamkeit an, zumindest wenn er unter Menschen ist."}],markDefs:[],style:f},{_key:"17eae5aa516a",_type:e,children:[{_key:"914362e0e7e5",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"2c2fabdbe00b",_type:w,leftCol:{_type:j,content:[{_key:"16dec44b115d",_type:e,children:[{_key:"3b4440822fb70",_type:a,marks:[],text:"In general, it seems that the cultural-historical images of the donkey tend to start transforming into their opposites almost as immediately as they appear: virility and devotion, critique and affirmation, activity and passivity, language and corporeality appear here as unavoidably encroaching upon and connected with one another, in the sense of a game or an exchange of physical and psychic forces. In subsequent sections of this text the donkey is positioned in an interstitial space, a site of instability with respect to linguistic reference. Here, the donkey’s stubbornness presents itself as a kind of desire, a delight in the deterioration of the symbolic, of the implicit ordering of discourse, power, and the law. The donkey’s desire appears as a desire for the acceleration of conceptual transitions, for the destruction of conceptual opposition and thereby ultimately of meaning."}],markDefs:[],style:f},{_key:"edf2125134d3",_type:e,children:[{_key:"8f9a3c837a92",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"75358d9104e9",_type:e,children:[{_key:"5372296e99ad0",_type:a,marks:[],text:"Generell lässt sich festhalten, dass die kulturhistorischen Eselbilder dazu tendieren, sich im Vollzug in ihr Gegenteil zu verkehren. Potenz und Devotion, Kritik und Affirmation, Aktivität und Passivität, Sprache und Leiblichkeit erscheinen hier unweigerlich übergriffig und miteinander verknüpft im Sinne eines Spiels oder Austauschs physischer und psychischer Kräfte. Im weiteren Verlauf dieses Textes stellt sich der Esel in einen Zwischenraum, einen Ort der Instabilität sprachlichen Bezugs. Die Sturheit des Esels eröffnet sich hier ebensosehr als eine Lust, ein Genießen am Verfall des Symbolischen: der impliziten Ordnung der Diskurse, der Macht und des Gesetzes. Die Lust des Esels erscheint als eine Lust an der Beschleunigung begrifflicher Übergänge, an der Zerstörung von begrifflicher Opposition und damit letztlich von Sinn."}],markDefs:[],style:f},{_key:"633e4aa4f107",_type:e,children:[{_key:"b80df685aa5c",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"22f915d2ae6cf3e1c3f8ad1a51bb876d",_type:at,audioFile:{_type:J,asset:{_ref:"file-5ea5817f06c3788859ab43415bd121c7a24003c1-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:"0f12a3e85b45",_type:a,marks:[n,g],text:"Dummer, schöner Schwan"},{_key:em,_type:a,marks:[g,n],text:d},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"584624a601d661ae851ff64cf4880cf0",_type:w,leftCol:{_type:j,content:[{_key:aEU,_type:e,children:[{_key:aEV,_type:a,marks:[],text:"Part II: Eeyore’s Poem"}],markDefs:[],style:ac},{_key:aEW,_type:e,children:[{_key:aEX,_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:aEY,_type:e,children:[{_key:aEZ,_type:a,marks:[],text:"Teil II: Eeyore’s Poem"}],markDefs:[],style:ac},{_key:"600da996c71d",_type:e,children:[{_key:"e1e8cf0af5a0",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"2cc4743a062f",_type:I,img:{_type:u,asset:{_ref:"image-43bf17419a73e5329971084266f24fefd8d70153-2048x1536-jpg",_type:h},caption:{_type:o,content:[{_key:"cd3d7dcbf21d",_type:e,children:[{_key:"cacff2369c350",_type:a,marks:[n],text:"EN: Group of stuffed animals that Alan Alexander Milne purchased for his son Christopher Robin Milne in 1921. Clockwise from bottom left: Tigger, Kanga, Edward Bear (Winnie-the-Pooh), Eeyore, and Piglet. "}],markDefs:[],style:f},{_key:"6e24bc4c84fe",_type:e,children:[{_key:"e89680f9fc510",_type:a,marks:[n],text:"DE: Gruppe von Stofftieren die Alan Alexander Milne 1921 für seinen Sohn Christopher Robin Milne erwarb. Im Uhrzeigersinn von unten links: Tigger, Kanga, Edward Bear (Winnie-the-Pooh), Eeyore und Piglet."}],markDefs:[],style:f},{_key:"56b11d4aabec",_type:e,children:[{_key:"8ce6b1e02e61",_type:a,marks:[aFh,n],text:dm}],markDefs:[{_key:aFh,_type:q,blank:i,href:"https:\u002F\u002Fcommons.wikimedia.org\u002Fwiki\u002FFile:The_original_Winnie_the_Pooh_toys.jpg"}],style:f},{_key:"4fc73fbe6d54",_type:e,children:[{_key:"da4afc7a6091",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"a2ee57223ab9",_type:e,children:[{_key:"6b89e32fda6b0",_type:a,marks:[],text:"A stuffed tiger, kangaroo, bear and donkey sit atop a green table reading books that are laid open for them. Behind them is a library, with many books on shelves, and a blue recycling bin."}],markDefs:[],style:f}]}},size:am},{_key:"495a935dc2de",_type:w,leftCol:{_type:j,content:[{_key:"c762260cd527",_type:e,children:[{_key:"f13143e87d620",_type:a,marks:[],text:"Back to the beginning of this text: what could that mean, "},{_key:"f13143e87d621",_type:a,marks:[g],text:"to give shape to my donkey, to endow it with substance"},{_key:"f13143e87d622",_type:a,marks:[],text:"? Up until this point we have primarily observed the donkey as a cultural-historical or literary vessel. When the donkey speaks, a human speaks, a subject. When it speaks, it tells a story, a biography. In doing so, however, it becomes evident—particularly in the example of Lucius—that the donkey’s coat is more than just a costume, a fantastical construct housing an authentic inner character: this costume is always wholly complete, is itself a metamorphosis, a transformation. If we accept this, then a certain stuffed donkey comes to mind, one whose inner character ultimately does not manifest as an "},{_key:"f13143e87d623",_type:a,marks:[g],text:fy},{_key:"f13143e87d624",_type:a,marks:[],text:", but rather as stuffing that has been given form: illegible, inexplicable, and vulgar."}],markDefs:[],style:f},{_key:"15a32e5d67ae",_type:e,children:[{_key:"95cda0710d12",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"d4455513b146",_type:e,children:[{_key:"e19100d301d80",_type:a,marks:[],text:"Zurück zum Anfang dieses Textes: Was könnte das bedeuten, "},{_key:"e19100d301d81",_type:a,marks:[g],text:"meinem Esel eine Silhouette geben"},{_key:"e19100d301d82",_type:a,marks:[],text:en},{_key:"e19100d301d83",_type:a,marks:[g],text:" ihm eine Haut zu geben"},{_key:"e19100d301d84",_type:a,marks:[],text:"? Bis jetzt haben wir den Esel vor allem als ein kulturhistorisches beziehungsweise literarisches Gefäß betrachtet. Wenn der Esel spricht, spricht ein Mensch, ein Subjekt. Wenn er spricht, dann erzählt er eine Geschichte, eine Biografie. Dabei zeigt sich allerdings gerade am Beispiel des Lucius, dass die Hülle des Esels nicht nur eine Verkleidung, ein fantasievolles Konstrukt ist, das ein wahrhaftiges Inneres beherbergt—die Verkleidung ist immer vollständig, ist Metamorphose, ist Verwandlung. Wenn wir dies akzeptieren, kommt ein ausgestopfter Esel in den Sinn, dessen Inneres sich letztlich nicht als ein "},{_key:"e19100d301d85",_type:a,marks:[g],text:"Ich"},{_key:"e19100d301d86",_type:a,marks:[],text:" offenbart, sondern als in Form gebrachtes Füllmaterial: unlesbar, unerklärbar, vulgär."}],markDefs:[],style:f},{_key:"eba1175e4e9b",_type:e,children:[{_key:"da334e5d23e2",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"4216951df29b",_type:w,leftCol:{_type:j,content:[{_key:"19997ebdbd8b",_type:e,children:[{_key:"f4f56512774c0",_type:a,marks:[],text:"The donkey in question is of course Eeyore, from A.A. Milne’s "},{_key:"f4f56512774c1",_type:a,marks:[g],text:db},{_key:"f4f56512774c2",_type:a,marks:[],text:". In the Hundred-Acre Wood, the fictional universe in which the stories are set, the bear lives as part of a community of (stuffed) animals. These include Piglet, a stuttering piglet with signs of an anxiety disorder; Tigger, a hyperactive tiger; Kanga, a mother kangaroo, and her joey Roo; the snobbish Owl; Rabbit, whose tough exterior belies a soft heart; and finally Eeyore, a lovable albeit melancholy and depressed donkey. The group is accompanied on their adventures by Christopher Robin, a boy who lives at the edge of the Hundred-Acre Wood and the fictional equivalent of the author’s son of the same name, for whom the stories were first written. Milne’s son would later accuse his father of exploiting his childhood for literary gain."},{_key:"91793aeb22ed",_type:a,marks:[s],text:do0}],markDefs:[],style:f},{_key:"8055bb0bf3cc",_type:e,children:[{_key:"a60fbe3f9bb4",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"ca6f0cee593f",_type:e,children:[{_key:"f2d61ec9c3a50",_type:a,marks:[],text:"Der Esel, von dem hier die Rede ist, ist Eeyore aus Alan Alexander Milnes Kinderbuchreihe "},{_key:"f2d61ec9c3a51",_type:a,marks:[g],text:db},{_key:"f2d61ec9c3a52",_type:a,marks:[],text:". Im Hundert-Morgen-Wald, dem literarischen Universum Winnie-the-Poohs, wohnt der Bär als Teil einer Gemeinschaft von (Stoff-)Tieren. Darunter finden sich Piglet, ein stotterndes Ferkel mit Anzeichen einer Angststörung; Tigger, ein hyperaktiver Tiger; die Kängurumutter Kanga mit ihrem Jungen Roo; Owl, eine versnobte Eule; Rabbit, ein Kaninchen mit harter Schale, aber weichem Kern und schließlich Eeyore, ein liebenswürdiger, wenngleich melancholisch-depressiver Esel. Begleitet wird die Gruppe von Christopher Robin, einem Jungen, der am Rand des Hundert-Morgen-Walds lebt und als literarische Figur an A. A. Milnes gleichnamigen Sohn angelehnt ist, dem ursprünglichen Adressaten der Geschichte. Milnes Sohn wird seinem Vater später vorwerfen, seine Kindheit zugunsten dessen literarischen Werks ausgeschlachtet zu haben."}
32,{_key:"b7838ef83293",_type:a,marks:[s],text:do0}],markDefs:[],style:f},{_key:"070fa7a48c97",_type:e,children:[{_key:"8f607240046e",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"f8a5fc98620c",_type:w,leftCol:{_type:j,content:[{_key:"8a11093e4f9e",_type:e,children:[{_key:"b3048a3fdbb00",_type:a,marks:[],text:"Eeyore is a donkey whose tail falls off. More precisely, it is not clear whether his tail is actually a part of him or was always a later addition. Eeyore frequently loses his makeshift tail in the animated adaptation of the series, meaning that Christopher Robin must repeatedly re-attach it with the help of a nail. This recalls the children’s game “Pin the Tail on the Donkey”, in which players try to accurately pin a tail or tails to a picture of a donkey while blindfolded."}],markDefs:[],style:f},{_key:"4bf00239c9b6",_type:e,children:[{_key:"9677cf548b03",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"ff60af4030a8",_type:e,children:[{_key:"3a3ab190d4bf0",_type:a,marks:[],text:"Eeyore ist ein Esel, dem der Schwanz abfällt. Genauer gesagt ist nicht sicher, ob der Schwanz überhaupt Teil des Esels oder immer schon nachträglich angebracht ist. Eeyore verliert den eher notdürftig fixierten Schwanz in mehreren Episoden der Zeichentrickadaption des Kinderbuchs, sodass er immer wieder von Christopher Robin mithilfe eines Nagels befestigt werden muss. Wir erinnern uns an das Kinderspiel "},{_key:"3a3ab190d4bf1",_type:a,marks:[g],text:"Pin the tail on the donkey"},{_key:"3a3ab190d4bf2",_type:a,marks:[],text:", zu deutsch: "},{_key:"3a3ab190d4bf3",_type:a,marks:[g],text:"Eselschwanz"},{_key:"3a3ab190d4bf4",_type:a,marks:[],text:", bei dem die Spieler*innen mit verbundenen Augen einem Eselbild seinen Schwanz beziehungsweise seine Schwänze anheften müssen. Ziel des Spiels ist es, den Schwanz an die richtige Stelle zu setzen."}],markDefs:[],style:f},{_key:"723b463ce2e6",_type:e,children:[{_key:"8c3673a33349",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"4f0684b53b64",_type:I,img:{_type:u,asset:{_ref:"image-ef709bd0eb124829402a42a9acd8745f7fc0b6d6-590x600-jpg",_type:h},caption:{_type:o,content:[{_key:"96f46630db18",_type:e,children:[{_key:"d746894889570",_type:a,marks:[n],text:"EN: Pin the Tail on the Donkey. "}],markDefs:[{_key:"e25891b0c2dc",_type:q,href:aFi}],style:f},{_key:"61f63e970228",_type:e,children:[{_key:"c30dece382bb",_type:a,marks:[n],text:"DE: Eselschwanz"}],markDefs:[],style:f},{_key:"3933981347a1",_type:e,children:[{_key:"95e643e5a502",_type:a,marks:[aFj,n],text:dm}],markDefs:[{_key:aFj,_type:q,blank:i,href:aFi}],style:f},{_key:"2928c7fbf118",_type:e,children:[{_key:"32708c2872ab0",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"1df63e9e65d5",_type:e,children:[{_key:"c5902a082df6",_type:a,marks:[],text:"A picture of a pin-the-tail-on-the-donkey bathed in orange light. The donkey is surrounded by multi-coloured balloons."}],markDefs:[],style:f}]}},size:am},{_key:"aa58fdce4815",_type:w,leftCol:{_type:j,content:[{_key:"ac3f14f8e239",_type:e,children:[{_key:"4c0061375a500",_type:a,marks:[],text:"The literary universe of "},{_key:"4c0061375a501",_type:a,marks:[g],text:db},{_key:"4c0061375a502",_type:a,marks:[],text:" is generally suffused with a lightly melancholic or at least nostalgic atmosphere. This atmosphere is in the first instance connected to the context in which the texts were created: Milne uses the writing of his children’s books to work through his experiences of the first world war, above all the question of humans’ capacity to act in the face of historical catastrophe."},{_key:"686031073c28",_type:a,marks:[s],text:bL},{_key:"a791c95666b7",_type:a,marks:[],text:" Secondly, "},{_key:"4c0061375a503",_type:a,marks:[g],text:db},{_key:"4c0061375a504",_type:a,marks:[],text:" is an examination of the topoi of childhood and growing up as well as the related loss of a retrospectively imagined innocence. In psychoanalytic terms, this involves the conception of an unbroken identity perceived as absolute, a pre-subjective refuge of impersonal longing in which the linguistically mediated separation between subject and object has not yet taken place. Although the Hundred-Acre Wood remains to some extent intact as a fantasy universe, Christopher Robin does age over the course of the stories, and eventually bids farewell to the group in order to attend boarding school. In this sense, "},{_key:"4c0061375a505",_type:a,marks:[g],text:db},{_key:"4c0061375a506",_type:a,marks:[],text:" can also be read as a story of alienation."}],markDefs:[],style:f}
32,{_key:"25617592cb02",_type:e,children:[{_key:"6bbdfe3e89cc",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"dffa1c17cde3",_type:e,children:[{_key:"c66522fca6440",_type:a,marks:[],text:"Dem literarischen Stoff des "},{_key:"c66522fca6441",_type:a,marks:[g],text:db},{_key:"c66522fca6442",_type:a,marks:[],text:" Universums unterliegt generell eine leicht melancholische oder zumindest nostalgische Atmosphäre. Diese Atmosphäre hat zum einen mit dem Entstehungskontext des literarischen Stoffs zu tun, so verarbeitet Milne in den Kinderbüchern seine Erfahrungen während des ersten Weltkriegs, vor allem auch die Frage menschlicher Handlungsfähigkeit angesichts der historischen Katastrophe."},{_key:"dfd8954468bf",_type:a,marks:[s],text:bL},{_key:"7704d1ef2082",_type:a,marks:[],text:" Zum anderen ist "},{_key:"c66522fca6443",_type:a,marks:[g],text:"Winnie-the-Pooh "},{_key:"c66522fca6444",_type:a,marks:[],text:"eine Auseinandersetzung mit dem Topos der Kindheit und des Aufwachsens sowie des damit verbundenen Verlusts einer retrospektiv imaginierten Unschuld. Psychoanalytisch formuliert geht es dabei um die Vorstellung einer als absolute wahrgenommenen, unversehrten Identität, ein vor-subjektiver Hort unpersönlicher Sehnsucht, in der die über die Sprache vermittelte Trennung zwischen Subjekt und Objekt nicht stattgefunden hat. Während der Hundert-Morgen-Wald als Fantasieuniversum gewissermaßen intakt bleibt, altert Christopher Robin über den Verlauf der Geschichten und nimmt schließlich Abschied von der Gruppe, um ein Internat zu besuchen. "},{_key:"c66522fca6445",_type:a,marks:[g],text:db},{_key:"c66522fca6446",_type:a,marks:[],text:" lässt sich insofern auch als Geschichte einer Entfremdung lesen."}],markDefs:[],style:f},{_key:"82ed6a474473",_type:e,children:[{_key:"95d1ffd6c85f",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"259cb76528cc",_type:w,leftCol:{_type:j,content:[{_key:"615bb144c5f7",_type:e,children:[{_key:"1eed25f1d77c0",_type:a,marks:[],text:"The donkey Eeyore embodies this longing. He likewise embodies a kind of disavowal of this alienation, which brings us closer to the esoteric enjoyment of the instability of the symbolic order. Here I would like to quote a brief exchange from "},{_key:"1eed25f1d77c1",_type:a,marks:[g],text:SG},{_key:"1eed25f1d77c2",_type:a,marks:[],text:" (1983) which illustrates this relation. To briefly summarize the plot of this 25-minute TV adaptation: at the beginning of the episode, Eeyore seems to be "},{_key:"1eed25f1d77c3",_type:a,marks:[g],text:"more melancholy than usual"},{_key:"1eed25f1d77c4",_type:a,marks:[],text:". It turns out that it is Eeyore’s birthday, but nobody has noticed; eventually, the animals get together and throw him a surprise birthday party. At the beginning of the episode, the following exchange occurs between Winnie-the-Pooh and Eeyore:"}],markDefs:[],style:f},{_key:"a2b404b5c717",_type:e,children:[{_key:"b5c5f2df3d11",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"21748200696a",_type:e,children:[{_key:"0f69dc2c2b830",_type:a,marks:[],text:"Der Esel Eeyore verkörpert diese Sehnsucht. Er verkörpert gleichermaßen eine Art Verleugnung der Entfremdung, die uns näher an das abseitige Genießen an der Instabilität des Symbolischen bringt. Ich zitiere an dieser Stelle einen kurzen Dialog aus "},{_key:"0f69dc2c2b831",_type:a,marks:[g],text:"Winnie-the-Pooh and a Day for Eeyore "},{_key:"0f69dc2c2b832",_type:a,marks:[],text:"(1983), der dieses Verhältnis verdeutlicht"},{_key:"0f69dc2c2b833",_type:a,marks:[g],text:bf},{_key:"0f69dc2c2b834",_type:a,marks:[],text:"Um die Handlung der 25-minütigen TV-Adaption grob zusammenzufassen: Eeyore scheint zu Beginn der Folge "},{_key:"0f69dc2c2b835",_type:a,marks:[g],text:"noch melancholischer zu sein als gewöhnlich"},{_key:"0f69dc2c2b836",_type:a,marks:[],text:". Es stellt sich heraus, dass der Esel Geburtstag hat und schließlich finden sich die Tiere zu einem improvisierten Geburtstagsbankett zusammen. Zu Beginn der Episode ergibt sich folgender Austausch zwischen Winnie-the-Pooh und Eeyore:"}],markDefs:[],style:f},{_key:"b8c74aadd90a",_type:e,children:[{_key:"932fbfa101d8",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"6d8a51dda02c2f7b71a775936bef52ac",_type:at,audioFile:{_type:J,asset:{_ref:"file-cd9d627d689418a21184a5f1e684a89556fa8256-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:"810f940406ae",_type:a,marks:[n,g],text:"Eeyore"},{_key:em,_type:a,marks:[g,n],text:d},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"b5ea69ed149c",_type:w,leftCol:{_type:j,content:[{_key:"8eac7e425d00",_type:e,children:[{_key:"de1cd8cd2f230",_type:a,marks:[],text:"Pooh: Eeyore, what’s the matter?"}],markDefs:[],style:au},{_key:"2d223dde6b0c",_type:e,children:[{_key:"69b21a557b670",_type:a,marks:[],text:"Eeyore: What makes you think anything’s the matter?"},{_key:"9e15701e9a83",_type:a,marks:[s],text:bM}],markDefs:[],style:au},{_key:"a3e66774c26c",_type:e,children:[{_key:"d529e510be32",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"4623a5a7d6eb",_type:e,children:[{_key:"0b8554416f950",_type:a,marks:[],text:"Pooh: Eeyore, was ist los?"}],markDefs:[],style:au},{_key:"c3e944770257",_type:e,children:[{_key:"53e854d77ef40",_type:a,marks:[],text:"Eeyore: Warum glaub
32st du, das irgendetwas los ist?"},{_key:"dded318d4255",_type:a,marks:[s],text:bM}],markDefs:[],style:au},{_key:"71eb16d4d65e",_type:e,children:[{_key:"f2578da7c283",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"3a969613ec9f",_type:w,leftCol:{_type:j,content:[{_key:"2bcdc9d4b77d",_type:e,children:[{_key:"6fe9f55ea6160",_type:a,marks:[],text:"Taking a somewhat free interpretation of Eeyore’s response, we could re-fashion it into a more radical question: “What makes you think there is anything at all that could matter?” Earlier in this text, we remarked that the donkey’s rage is directed at language and meaning, at the placing of the subject into a meaningful, historical, or autobiographical relation. While Pooh assumes that Eeyore will be able to locate a reason or an object of his misery, a concrete lack or misfortune, Eeyore responds with an almost aggressive—if monotonously expressed—question of his own, one which Pooh naturally cannot understand, let alone answer; in short, a kind of nihilistic "},{_key:"6fe9f55ea6161",_type:a,marks:[g],text:"leap of faith"},{_key:"6fe9f55ea6162",_type:a,marks:[],text:bd},{_key:"ff98f9cbdb24",_type:a,marks:[s],text:bN},{_key:"8e49c6ab79d7",_type:a,marks:[],text:" Eeyore is not missing anything in particular, nor has he experienced concrete misfortune; it is not the lack of a birthday present that has determined the low mood to which he has succumbed in every sense. What is missing is nothing less than a confidence in the integrity of language, the integrity of the symbolic order as a productive conceptual sequence that, functioning as a guarantor of desire and aversion, would structure the subjective perception of the world and in turn enable one’s meaningful inscription within it. The donkey who lacks purpose, who is no longer capable of designating the objects of his world, appears as a result to have been deprived of the objects themselves. He flounders at the prospect of cathexis, of the relationships between subject and object that confer meaning, on the basis of which we affirm our own existence. The donkey’s enjoyment is therefore concentrated on a loss, a disavowal of the separation between subject and object, between a “me” and the objects of the world, between interior and exterior. It is thus a paradoxical enjoyment, for the deterioration of the symbolic order is always accompanied with the deterioration of the self."}],markDefs:[],style:f},{_key:"e88d0e9a5d80",_type:e,children:[{_key:"bc23f79740a4",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"4f544b5029e2",_type:e,children:[{_key:"df18772302370",_type:a,marks:[],text:"In einer etwas freieren Übersetzung lässt sich Eeyores Erwiderung zu einer radikaleren Frage zuspitzen: “Was lässt dich glauben, dass es überhaupt etwas [matter] gibt, das Bedeutung hat?”"},{_key:"df18772302371",_type:a,marks:[g],text:d},{_key:"df18772302372",_type:a,marks:[],text:"Wir hatten an anderer Stelle bereits bemerkt, dass sich die Wut des Esels gegen die Sprache und Bedeutung, in anderen Worten gegen die Einschreibung des Subjekts in einen sinnhaften, historischen oder autobiografischen Zusammenhang richtet. Während Pooh davon ausgeht, dass Eeyore einen Grund, ein Objekt (“matter"},{_key:"df18772302373",_type:a,marks:[g],text:aFg},{_key:"df18772302374",_type:a,marks:[],text:") seines Trübsals identifizieren kann, einen konkreten Verlust, ein Unglück, reagiert Eeyore mit einer geradezu angriffslustigen, wenngleich monoton hervorgebrachten Gegenfrage, die der Bär selbstverständlich nicht verstehen, geschweige denn beantwortet kann—kurzum eine Art nihilistischer "},{_key:"df18772302375",_type:a,marks:[g],text:"Leap of Faith, "},{_key:"df18772302376",_type:a,marks:[],text:"zu deutsch "},{_key:"df18772302377",_type:a,marks:[g],text:"ein Sprung in den Glauben"},{_key:"df18772302378",_type:a,marks:[],text:bd},{_key:"cdf8d0c3b044",_type:a,marks:[s],text:bN},{_key:"a0343621711a",_type:a,marks:[],text:" Was Eeyore fehlt, ist nichts Bestimmtes, es ist ihm kein konkretes Unglück widerfahren, es ist nicht das fehlende Geburtstagsgeschenk, das entscheidend wäre für seine Stimmung, der sich der Esel mit allen seinen Sinnen hingibt. Was fehlt, ist nicht weniger als das Vertrauen in die Unversehrtheit der Sprache, die Unversehrtheit des Symbolischen als produktive Begriffskette, die als Garant von Lust und Unlust die subjektive Wahrnehmung der Welt strukturieren und eine sinnhafte Einschreibung in dieselbe ermöglichen würde. Der Esel ohne Sinn, der nicht länger in der Lage ist, die Objekte seiner Welt zu benennen, scheint dabei auch den Objekten selbst beraubt. Er scheitert an der Möglichkeit der Objektbesetzung, der sinngebenden Beziehungen zwischen Subjekt und Objekt, anhand derer wir uns unserer eigenen Existenz versichern. Das Genießen des Esels konzentriert sich alsdann auf einen Verlust, einer Verleugnung der Spaltung zwischen Subjekt und Objekt, zwischen mir und den Dingen in der Welt, zwischen dem Innen und dem Außen. Dabei handelt es sich um ein paradoxes Genießen, denn mit der Verfall des Symbolischen geht immer auch die Verfall des Selbst einher."}],markDefs:[],style:f},{_key:"4b9c8778a8f2",_type:e,children:[{_key:"e215b3db263d",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"4b06fe95e246",_type:w,leftCol:{_type:j,content:[{_key:"305f0ad26eed",_type:e,children:[{_key:"f1d73af1c7c60",_type:a,marks:[],text:"We previously labeled the donkey a trickster, a rake, and must point out at this juncture that this entails a kind of self-deceit, a deception "},{_key:"f1d73af1c7c61",_type:a,marks:[g],text:"of the self"},{_key:"f1d73af1c7c62",_type:a,marks:[],text:", a deception that exists outside social or ethical convention. What, then, is the donkey? Who—or more accurately, what—is doing the enjoying, if not the self?"}],markDefs:[],style:f},{_key:"8390e150a205",_type:e,children:[{_key:"580421982a8e",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"c5f4c497e2d3",_type:e,children:[{_key:"e63ac1bd74a60",_type:a,marks:[],text:"Wir hatten den Esel vorhin einen Trickster genannt, einen Verführer, und müssen an dieser Stelle feststellen, dass es sich hierbei um eine Art Selbstbetrug handelt, einen Betrug des "},{_key:"e63ac1bd74a61",_type:a,marks:[g],text:"Selbst"},{_key:"e63ac1bd74a62",_type:a,marks:[],text:", einen Betrug außerhalb des Bereichs sozialer oder ethischer Konvention. Was ist der Esel also? Wer—oder besser gesagt was—genießt, wenn nicht das Selbst?"}],markDefs:[],style:f},{_key:"5b86c0f1bb71",_type:e,children:[{_key:"e7bdc4b2b985",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"f0ed4a0a048681097d04bd2b2d1f03be",_type:at,audioFile:{_type:J,asset:{_ref:"file-d5c7d8fd333dc68f94356b455b220b410972ee37-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:SH,_type:a,marks:[n,g],text:"Lithic staircase"},{_key:SI,_type:a,marks:[],text:d},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"3258a48ac457",_type:I,img:{_type:u,asset:{_ref:"image-c512fb9b77542ad6b28de7931c0422ccff147cf0-2546x1326-png",_type:h},caption:{_type:o,content:[{_key:"dc103e2581ec",_type:e,children:[{_key:"05df803c21760",_type:a,marks:[n],text:"EN: Lukas Ludwig, "},{_key:"05df803c21761",_type:a,marks:[g,n],text:aFk},{_key:"05df803c21762",_type:a,marks:[n],text:aFl}],markDefs:[],style:f},{_key:"1eba393520fe",_type:e,children:[{_key:"b5ff31fcd4b3",_type:a,marks:[n],text:"DE: Lukas Ludwig, "},{_key:"b0a1ffdd38aa",_type:a,marks:[g,n],text:aFk},{_key:"f2ed54d340a3",_type:a,marks:[n],text:aFm}],markDefs:[],style:f},{_key:"d4e04a56c3a4",_type:e,children:[{_key:"48846823cd620",_type:a,marks:[],text:"A black and white drawing of Winnie the Pooh and Christopher Robin pinning the tail on Eeyore the donkey. The image is a screen shot of a print the artist is purchasing for €7,70."}],markDefs:[],style:f}]}},size:am},{_key:"1e6dbea94dff",_type:w,leftCol:{_type:j,content:[{_key:"bdc301525d56",_type:e,children:[{_key:"9595a51610950",_type:a,marks:[],text:"In her highly regarded study "},{_key:"9595a51610951",_type:a,marks:[g],text:SJ}
32,{_key:"9595a51610952",_type:a,marks:[],text:" (1987), psychoanalyst Julia Kristeva writes:"}],markDefs:[],style:f},{_key:"c9530fe90685",_type:e,children:[{_key:"978f7d964faf",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"11d2e8429d85",_type:e,children:[{_key:"47c675be990d0",_type:a,marks:[],text:"In ihrer vielbeachteten Studie "},{_key:"47c675be990d1",_type:a,marks:[g],text:SK},{_key:"47c675be990d2",_type:a,marks:[],text:" (1987) schreibt die Psychoanalytikerin Julia Kristeva:"}],markDefs:[],style:f},{_key:"8178a54dcbb0",_type:e,children:[{_key:"65694c1955a3",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"54754b3e8d4e",_type:w,leftCol:{_type:j,content:[{_key:"9aa1a9366b63",_type:e,children:[{_key:"b0546914e5050",_type:a,marks:[],text:"I have assumed depressed persons to be atheistic—deprived of meaning, deprived of values. For them, to fear or to ignore the Beyond would be self-deprecating. Nevertheless, and although atheistic, those in despair are mystics—adhering to the preobject, not believing in Thou, but mute and steadfast devotees of their own inexpressible container. It is to this fringe of strangeness that they devote their tears and jouissance. In the tension of their affects, muscles, mucous membranes, and skin, they experience both their belonging to and distance from an archaic other that still eludes representation and naming, but of whose corporeal emissions, along with their automatism, they still bear the imprint. Unbelieving in language, the depressive persons are affectionate, wounded to be sure, but prisoners of affect. The affect is their thing."},{_key:"c66899b5f1cd",_type:a,marks:[s],text:bO}],markDefs:[],style:au},{_key:"02ebec0a5550",_type:e,children:[{_key:"e374f1e39c50",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"0abd85d064bb",_type:e,children:[{_key:"982052eedd0b0",_type:a,marks:[],text:"“Wir sind vom Depressiven als Atheisten ausgegangen – allen Sinns, allen Werts beraubt. Er entwürdigte sich, würde er das Jenseits fürchten oder auch nur ignorieren. Doch wie atheistisch er auch immer sein mag, der Verzweifelte ist vor allem Mystiker: Er klebt an seinem Prä-Objekt, ist kein Du-Gläubiger, sondern stummer und unerschütterlicher Anhänger seines eigenen unsagbaren Containers. Diesem Saum von Fremdheit widmet er seine Tränen und seine Lust. [...] Der Depressive glaubt nicht an die Sprache, er ist ein vom Affekt Gezeichneter, ein vom Affekt gewiß Verletzter, aber auch Gefesselter. Der Affekt, das ist sein Ding.”"},{_key:"9180c91ac666",_type:a,marks:[s],text:bO}],markDefs:[],style:au},{_key:"8e3c28321a90",_type:e,children:[{_key:"b0e912650dcf",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"95edab284009",_type:w,leftCol:{_type:j,content:[{_key:"0b4a30a6e0b0",_type:e,children:[{_key:"f12cc12afb970",_type:a,marks:[],text:"Eeyore’s depressive-melancholic enjoyment begins with the experience of the inadequacy of his own desire, just as much as of the inadequacy of the concept as a mediator between the self and the world. His mastery is of skepticism towards everything particular and manifest, the disavowal of the object in favor of a lack that has no worldly equivalent. The pre-object that Kristeva refers to here can also be described as a reaction to the foreignness of the world of signifiers, which appears to the ego solely as a boundary. The failure of the concept lies here in the necessity of opposition, of the separation between “me” and the thing, which only permits the experience of alienation. All that remains is suffering and sadness as an affective mood, resonating with the process of deterioration. The organism brings itself into an intoxicating resonance with a withdrawal—a withdrawal of energies from the delicate ramifications of its own rootedness in the world, for the benefit of another. Depression does not in the process simply erase subjective enjoyment of the object, but rather replaces it through a surrender to affect, to unfulfillable desire, to the mourning of a lost unity. This surrender of self to suffering is by no means a decision to die, but rather a reaction of the subject to a genuinely experienced loss. In terms of an ecology of enjoyment, suffering enables the continuation of a mood, and thereby of an emotional connection to the surrounding world."}],markDefs:[],style:f},{_key:"46ec4b292e05",_type:e,children:[{_key:"d76c52617b38",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"b23c94feab2c",_type:e,children:[{_key:"dad28ee8d7060",_type:a,marks:[],text:"Eeyores depressiv-melancholisches Genießen beginnt mit der Erfahrung der Unzulänglichkeit des eigenen Begehrens, ebensosehr der Unzulänglichkeit des Begriffs als Vermittler zwischen dem Selbst und der Welt. Seine Meisterschaft ist die Skepsis allem Einzelnen, Manifesten gegenüber, ist die Verleugnung des Objekts zugunsten eines Verlusts, der keine weltliche Entsprechung findet. Das Prä-Objekt, von dem Kristeva hier spricht, lässt sich insofern auch als eine Reaktion auf die Fremdheit der Welt der Signifikanten, die sich dem Ich einzig als Grenze eröffnet, beschreiben. Das Scheitern des Begriffs liegt hier in der Notwendigkeit der Opposition, der Trennung zwischen mir und dem Ding, die nur mehr die Erfahrung einer Entfremdung zulässt. Was bleibt, ist das Leiden und die Trauer als eine affektive Stimmung, eine Resonanz mit dem Verfall. Der Organismus bringt sich in eine rauschhafte Resonanz mit einem Rückzug, einem Rückzug von Energien aus den feinen Verästelungen, der eigenen Verwurzelung in der Welt zugunsten eines Anderen. Die Depression löscht das subjektive Genießen am Objekt dabei nicht einfach aus, sondern ersetzt es durch eine Überantwortung an den Affekt, an die unerfüllbare Sehnsucht, die Trauer um eine verlorene Einheit. Diese Überantwortung des Selbst an das Leiden ist gerade keine Entscheidung zum Tode, sondern eine Reaktion des Subjekts auf einen real empfundenen Verlust. Im Sinne einer Ökologie des Genießens ermöglicht das Leiden weiterhin eine Stimmung und darin einen emotionalen Bezug zur Umwelt."}],markDefs:[],style:f},{_key:"0083deeed06e",_type:e,children:[{_key:"cc380c19ebc8",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"ffe4d7f29f83",_type:I,img:{_type:u,asset:{_ref:"image-0a2941c3d79180834d1b3e459336ed78916e19b6-595x715-jpg",_type:h},caption:{_type:o,content:[{_key:"6a8b3a7f0f07",_type:e,children:[{_key:"a9cd3367b2340",_type:a,marks:[n],text:"EN: OCVLVS NON VIDIT, NEC AVRIS AVDIVIT (“What no eye has seen, nor ear heard”, 1 Corinthians 2:9), appearing in: Otto van Veen, "},{_key:"a9cd3367b2341",_type:a,marks:[g,n],text:aFn},{_key:"a9cd3367b2342",_type:a,marks:[n],text:", Antwerp, 1660."}],markDefs:[{_key:"5a1ff4c8b431",_type:q,href:aFo}],style:f},{_key:"2697aa570995",_type:e,children:[{_key:"2a23c163e040",_type:a,marks:[n],text:"DE: OCVLVS NON VIDIT, NEC AVRIS AVDIVIT (Kein Auge hat gesehen und kein Ohr gehört, 1 Kor 2,9) erschienen in: Otto van Veen, "},{_key:"691cca11dbc01",_type:a,marks:[g,n],text:aFn},{_key:"691cca11dbc02",_type:a,marks:[n],text:", Antwerpen 1660."}],markDefs:[],style:f},{_key:"68cb4bf5f459",_type:e,children:[{_key:"90830d68288f",_type:a,marks:[aFp,n],text:dm}],markDefs:[{_key:aFp,_type:q,blank:i,href:aFo}],style:f},{_key:"25d5dffeab97",_type:e,children:[{_key:"92524ceec887",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"dd8dcce3c307",_type:e,children:[{_key:"7bc728dc6fab0",_type:a,marks:[],text:"A series of clouds surround a circle, which seems like the entryway to enlightenment. In the centre appears text in Latin, “What no eye has seen, nor ear heard”, from 1 Corinthians 2:9."}],markDefs:[],style:f}]}},size:am},{_key:"a994b185a925",_type:w,leftCol:{_type:j,content:[{_key:"c651b80c3e16",_type:e,children:[{_key:"c722614b63740",_type:a,marks:[],text:"Following Kristeva, the donkey thus enters into proximity with the mystics, yet this mystical experience takes place precisely in the absence of the self. It is worth briefly noting here that mysticism finds a home in various religions: Islam, Christianity, Hinduism, Buddhism, Taosim, Judaism—the list goes on. What unites these elements across religions is the search for the experience of divine or absolute reality. In the context of Christian mysticism, this led to the development of the concept of "},{_key:"c722614b63741",_type:a,marks:[g],text:SL},{_key:"c722614b63742",_type:a,marks:[],text:" (mystical union), which denotes the reunification or wedding of the human soul with God."},{_key:"1bd6748e2527",_type:a,marks:[s],text:bP},{_key:"f3bf0e263bf8",_type:a,marks:[],text:" In contrast to contemporary conceptions of experience and constructions of the subject, which in line with an economy of experience understand the productive self as a repository of experiences, the "},{_key:"a92f20c227c3",_type:a,marks:[g],text:"Unio Mystica "},{_key:"65cbb20e6e96",_type:a,marks:[],text:"can be described as a refuge of impersonal enjoyment, one which initially presents itself as a "},{_key:"ff3baba96c9c",_type:a,marks:[g],text:"cloud of unknowing"},{_key:"4c2797fbffd9",_type:a,marks:[],text:bd},{_key:"af7b6190daa5",_type:a,marks:[s],text:bQ},{_key:"4953f7f2e7d3",_type:a,marks:[],text:" The mystical experience is thereby tantamount to a temporary erasure of the self, in the sense of a surrender, an opening up to a non-human entity. What remains is a field of passive attention, of an affective reality set apart from the possibility of operative access. Affect skips ahead of thought, pre-empting it—the hide, in the case of the donkey, is quicker than the word. At this point it becomes clear why the mystical experience can never fully be explained, and in fact when seen in this light is not an experience at all, but rather something indivisible and incommunicable—who exactly is it that would be able to speak of it?"}],markDefs:[],style:f},{_key:"04ecea2a9ada",_type:e,children:[{_key:"483987c5798b",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"2636eb43403d",_type:e,children:[{_key:"0886eb360b2d0",_type:a,marks:[],text:"Kristevas Gedanken folgend, rückt der Esel damit in die Nähe der Mystiker*innen, findet doch gerade die mystische Erfahrung in Abwesenheit des Selbst statt. Hier sei kurz angemerkt, dass die Mystik keine ausschließlich christliche Tradition ist. Mystische Strömungen finden sich gleichermaßen im Islam, im Hinduismus, Buddhismus, Daoismus, Judaismus et cetera. Was diese Strömungen in gewisser Weise eint, ist die Suche nac
32h der Erfahrung einer göttlichen oder absoluten Wirklichkeit. Im Kontext der christlichen Mystik wurde hier der Begriff der "},{_key:"0886eb360b2d1",_type:a,marks:[g],text:SL},{_key:"0886eb360b2d2",_type:a,marks:[],text:" geprägt, der die Wiedervereinigung oder Vermählung der menschlichen Seele mit Gott bezeichnet."},{_key:"cdf68fa6c722",_type:a,marks:[s],text:bP},{_key:"f346b7e54ec0",_type:a,marks:[],text:" Im Kontrast zu zeitgenössischen Erfahrungsbegriffen und Subjektkonstruktionen, die das produktive Selbst im Sinne der Erlebnisökonomie als Träger von Erfahrungen begreifen, lässt sich die "},{_key:"f9339176beeb",_type:a,marks:[g],text:SL},{_key:"1ce7fd1856e9",_type:a,marks:[],text:" als ein Hort unpersönlichen Genießens beschreiben, der sich erst in einer "},{_key:"156a94f9f171",_type:a,marks:[g],text:"Cloud of Unknowing, "},{_key:"98b612a30a21",_type:a,marks:[],text:"einer Wolke des Nichtwissens eröffnet."},{_key:"c40cb237ecb4",_type:a,marks:[s],text:bQ},{_key:"7b1376b944d8",_type:a,marks:[],text:" Dabei kommt die mystische Erfahrung einer temporären Auslöschung des Selbst im Sinne einer Überantwortung, eines Offen-Werdens für ein Nichtmenschliches gleich. Was bleibt, ist ein Feld passiver Aufmerksamkeit, einer affektiven Realität abseits der Möglichkeit operativen Zugriffs. Der Affekt überspringt den Gedanken, kommt ihm zuvor—die Haut ist schneller als das Wort. An dieser Stelle wird klar, warum die mystische Erfahrung keine vollständige Erklärung findet, ja so gesehen überhaupt keine Erfahrung ist, ist sie doch unteilbar, unvermittelbar—wer sollte von ihr erzählen?"}],markDefs:[],style:f},{_key:"08479a16c50a",_type:e,children:[{_key:"4a2a648082b5",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"86f2ed79e34b83aa068681cf84a21d33",_type:at,audioFile:{_type:J,asset:{_ref:"file-437e4af220ada97c6c81ec3a4a982024c754be79-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:SH,_type:a,marks:[n,g],text:"The kitchener's lament"},{_key:SI,_type:a,marks:[],text:d},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"a5d7d17301db",_type:w,leftCol:{_type:j,content:[{_key:"7dda6f1ba639",_type:e,children:[{_key:"3f42af11379b0",_type:a,marks:[],text:"In contrast with the emphatic nature of the concept of mystical experience, today a highly contentious one, Denys Turner’s "},{_key:"3f42af11379b1",_type:a,marks:[g],text:dp},{_key:"3f42af11379b2",_type:a,marks:[],text:" (1998) points us toward the neo-Platonic origins of mystical theology. Beginning with the mystical writings of Pseudo-Dionysius the Areopagite, which were composed at the beginning of the 6th century, Turner identifies an “awareness of the ‘deconstructive’ potential of human thought and language which so characterized classical medieval apophaticism” in early theological Christian discourses."},{_key:"d21efc523079",_type:a,marks:[s],text:bR},{_key:"e861dec15972",_type:a,marks:[],text:" In brief, apophatic or negative theology is based on the fundamental otherness of God, which places it beyond the realm of knowledge or experience. As a result, apophatic theology seeks to find God through the language of negation. One example of the radicality of this approach can be found in the work of Irish theologian, philosopher, poet, and later translator of Pseudo-Dionysius John Scotus Eriugena, born in 810. Scotus insists that God is "},{_key:"c772c0cc84e1",_type:a,marks:[g],text:"nothing"},{_key:"90b4bdf24ff3",_type:a,marks:[],text:", because divinity does not occupy a state of being or existence in a way that is familiar to us."},{_key:"392e598caa7b",_type:a,marks:[s],text:bS},{_key:"9e7430c107f2",_type:a,marks:[],text:" This non-knowledge of the divine being is transformed into a positive knowledge of the implied boundaries of identifying, attributing language. Making reference to the Greek etymology of the term 'theology', Turner consequently provides an additional definition of apophatic theology as “that speech about God which is the failure of speech.”"},{_key:"6599796ca463",_type:a,marks:[s],text:dq},{_key:"4af2864dd849",_type:a,marks:[],text:" Interestingly, this rather paradoxical insight (knowledge of an impossibility) need not necessarily lead to monastic silence but instead an opening up of language to embrace the poetic, literary imagery, metaphor, rhythm, displacement and repetition; an excess of expression on the one hand, and the unheard-of silence of the text on the other."}],markDefs:[],style:f},{_key:"4029d4f5125b",_type:e,children:[{_key:"7209b9ff8a6a",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"0c1cbc21581b",_type:e,children:[{_key:"d23c890a8bbc0",_type:a,marks:[],text:"Gegenüber der Emphase des Begriffs der mystischen Erfahrung, einem heute durchaus umstrittenen Begriff, macht uns Denys Turner in "},{_key:"d23c890a8bbc1",_type:a,marks:[g],text:dp},{_key:"d23c890a8bbc2",_type:a,marks:[],text:" (1998) auf die neo-platonischen Ursprünge der mystischen Theologie aufmerksam. Ausgehend von den mystischen Schriften des Pseudo-Dionysius Areopagita, die Anfang des 6. Jahrhun
32derts nach Christus verfasst wurden, identifiziert Turner in den frühen christlich-theologischen Diskursen ein: “[…] Bewusstsein für das ‘dekonstruktive’ Potenzial menschlichen Denkens und der Sprache, das den klassischen mittelalterlichen Apophatismus auszeichnet.”"},{_key:"3bd90c3db254",_type:a,marks:[s],text:bR},{_key:"548ce3e99334",_type:a,marks:[],text:" Kurz zusammengefasst geht die apophatische oder negative Theologie von der fundamentalen Andersartigkeit Gottes aus, aus der die Unvermittelbarkeit des göttlichen Wesens folgt. Dementsprechend sucht die apophatische Theologie Gott in der sprachlichen Negation. Ein Beispiel für die Radikalität dieser Verneinung findet sich im Werk des irischen Theologen, Philosophen, Dichter und späteren Übersetzers der Schriften des Pseudo-Dionysius John Scotus Eriugena, der 810 nach Christus geboren wurde. Scotus insistiert, dass Gott "},{_key:"574964e9cdfe",_type:a,marks:[g],text:"nichts (nothing)"},{_key:"5e14f0ca63e5",_type:a,marks:[],text:" ist, da er in keiner uns ver
32ständlichen Art und Weise ein Sein oder eine Existenz besitzt."},{_key:"79748cccd24c",_type:a,marks:[s],text:bS},{_key:"f9e213ade124",_type:a,marks:[],text:" Dieses Nicht-Wissen um das Wesen Gottes wird dabei ebenso zu einem positiven Wissen um die impliziten Grenzen identifizierender, attribuierender Sprache. In Rückbezug auf die griechische Etymologie des Begriffs "},{_key:"a1c6df805234",_type:a,marks:[g],text:"Theologie"},{_key:"0d4527cfdf2c",_type:a,marks:[],text:" definiert Turner die apophatische Theologie folglich auch als “[…] diejenige Rede über Gott, die das Versagen der Sprache ist.”"},{_key:"04f5d189d5ae",_type:a,marks:[s],text:dq},{_key:"8fb0f82cec80",_type:a,marks:[],text:" Auf diese durchaus paradoxe Erkenntnis (das Wissen einer Unmöglichkeit) folgt interessanterweise gerade nicht zwangsläufig das mönchische Schweigen, sondern eine Öffnung der Sprache für das Poetische, für das literarische Bild, die Metapher, den Rhythmus, die Verschiebung und Wiederholung, für das Zu-viel-sagen auf der einen und das unerhörte Schweigen des Textes auf der anderen Seite."}],markDefs:[],style:f},{_key:"8a727012964e",_type:e,children:[{_key:"60918a828dfe",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"223ea0879bdd",_type:w,leftCol:{_type:j,content:[{_key:"d92736c78fb5",_type:e,children:[{_key:"0cd7348ff9f50",_type:a,marks:[],text:"Here we encounter a kind of change in the sign: negation or critique is inverted and becomes an affirmation of an inadequacy that conversely enables writing and speaking as a secular practice. We have this change to thank for the metaphorical opulence of mystical writings, whose vocabulary is drawn from a variety of secular discourses, including those concerning science, literature, art, sex, politics, law, war, and physiology, among others. In the end, a combining or reconciling with the nonverbal also appears possible within language itself."}],markDefs:[],style:f},{_key:"84864980e703",_type:e,children:[{_key:"a54ec4d76e19",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"a8c8e8062732",_type:e,children:[{_key:"f036660a529d0",_type:a,marks:[],text:"Hier begegnet uns eine Art Vorzeichenwechsel: die Negation beziehungsweise Kritik kippt und wird zur Affirmation einer Unzulänglichkeit, die wiederum ein Schreiben und Sprechen als weltliche Praxis ermöglicht. Diesem Wechsel verdanken wir die metaphorische Opulenz der mystischen Schriften, deren Vokabular sich aus einer Vielzahl weltlicher Diskurse, sei es Wissenschaft, Literatur, Kunst, Sex, Politik, Recht, Krieg, Physiologie et cetera speist. Die Vermählung oder Versöhnung mit dem Nichtsprachlichen scheint auch in der Sprache selbst möglich."}],markDefs:[],style:f},{_key:"07855e10b56a",_type:e,children:[{_key:"b58559612026",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"8ee7f93cf06c",_type:w,leftCol:{_type:j,content:[{_key:"87e2776e1fb1",_type:e,children:[{_key:"9380e931b8750",_type:a,marks:[],text:"On the basis of this shift, the mystical self-delivery of the donkey to its object, to its refuge of impersonal desire, is also never fully accomplished—the completion of the process of self-abnegation can ultimately only be achieved through death. In this context, Kristeva focuses particular attention on the language of the depressed, which despite being slowed down and disrupted by silences also contains phonetic modulations, breaks in speech, and sudden jumps; along with an exceptional cognitive lucidity, these are also accompanied by a highly singular and creative capacity for association."},{_key:"fc3e9bac8c59",_type:a,marks:[s],text:dr},{_key:"de6208041164",_type:a,marks:[],text:" And although the depressed are less and less able to avoid enjoying the deterioration of the world to the benefit of an ineffable other, in their mode of speaking the possibility of communication announces itself. Seen in light of this subjective constellation, depression appears not only as a pathology to be treated but also as a discourse, or rather a language, which in the face of a “real” or “absolute” that resists interpretation retreats to the borderlands of linguistic expression. Kristeva’s study, which she based on both literary analysis as well as case studies from her own psychoanalytic practice, provides us with another perspective on depression, showing it to be a source of creativity as well as suffering. To some extent, she also opens up another, more distantiated view on a world that no longer provides a home for the depressed. It is important to note that this is not an attempt to make the depressed subject the trustee of a kind of preconceptual or even “primordial” creativity, per se, and thus convert depression into a productive force. We are precisely as far away as possible from contemporary paradigms of creativity which insist on unbounded productivity and the creative self-realization of the individual and thereby render political organization and subjective reinscription within a historical context or a society impossible."}],markDefs:[],style:f},{_key:"d80e1ee0790a",_type:e,children:[{_key:"afb1cf5b12f7",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"a615b02ca0cc",_type:e,children:[{_key:"2d3bc9f6b5370",_type:a,marks:[],text:"Diesem Übergang folgend ist auch die mystische Selbst-Auslieferung des Esels an sein Ding, an den Hort unpersönlichen Genießens, im Hier und Jetzt nie vollständig—die Vervollständigung der Selbst-Verleugnung verspricht der Tod allein. Julia Kristeva widmet sich in diesem Kontext vor allem dem Sprechen der Depressiven, in dem sich trotz der verlangsamten und von Stille unterbrochenen Sprache lautliche Modulationen, Abbrüche und Sprünge ausmachen lassen, die mitunter mit einer außergewöhnlichen kognitiven Luzidität, einer höchst singulären und kreativen Assoziationsfähigkeit einhergehen."},{_key:"9e33e0535b0f",_type:a,marks:[s],text:dr},{_key:"b77721705f9e",_type:a,marks:[],text:" Und wenngleich die Depressiven sich dem Genuss des Verfalls der Welt zugunsten eines unaussprechlichen Anderen immer weniger entziehen können, eröffnet sich in ihrem Sprechen die Möglichkeit der Mitteilung. Die Depression erscheint im Sinne dieser Subjektkonstellation nicht nur als zu behandelnde Pathologie, sondern als ein Diskurs, also wiederum eine Sprache, die sich angesichts eines sich der Sinngebung entziehenden Realen oder Absoluten in die Randbereiche sprachlichen Ausdrucks zurückzieht. Kristevas Studie, die sich sowohl auf die Analyse literarischer Texte als auch auf Fallbeispiele ihrer eigenen anal
32ytischen Praxis stützt, eröffnet uns hier einen anderen Blick auf die Depression als Quelle von Leiden, aber auch von Kreativität. Sie eröffnet gewissermaßen einen anderen, entfernten Blick auf eine Welt, die den Depressiven nicht länger beheimatet. Dabei geht es nicht darum, dem depressiven Subjekt per se die Trägerschaft einer Art vorbegrifflichen oder gar “ursprünglichen” Kreativität zu unterstellen und in diesem Sinne zu einer Produktivkraft umzubauen. Wir sind gerade am weitesten entfernt von zeitgenössischen Kreativitätsparadigmen, die auf uneingeschränkte Produktivität und kreative Selbstverwirklichung des Individuums insistieren und damit die Möglichkeit politischer Organisation und die subjektive Wiedereinschreibung in einen historischen Kontext oder eine Gesellschaft unmöglich machen."}],markDefs:[],style:f},{_key:"e3d5bebe2d3d",_type:e,children:[{_key:"05fb569094a2",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"55f459b9df9c612c57bebead4d9ddbf9",_type:at,audioFile:{_type:J,asset:{_ref:"file-fd422854be5988313399a699fed049dd41d3adba-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:SH,_type:a,marks:[n,g],text:"Lord of Merci!"},{_key:SI,_type:a,marks:[],text:d},{_key:bA,_type:a,marks:[n],text:bB},{_key:bC,_type:a,marks:[g,n],text:d},{_key:bD,_type:a,marks:[n],text:bE}],markDefs:[],style:f}]}},shrink:i},{_key:"7e1fac142f77",_type:w,leftCol:{_type:j,content:[{_key:"e31b286bc07f",_type:e,children:[{_key:"8075edfc99f60",_type:a,marks:[],text:"Back to our long-eared companion: earlier on, we had positioned the donkey at a site of transition, a point of exchange, of conceptual instability and shifting physical and psychic forces. We can now formulate this configuration more precisely as a mode of survival in the presence of a “real” that is to some extent ineffable, something that resists, that is unconceptualizable, inhuman, and absolute. Both ways of relating to this “real”—that is, the binding of the object mediated through the difference of signifiers, on the one hand, and the surrendering of the self to affect on the other—both facilitate, in very different ways, a kind of feedback, a connection to the world. Both sides of this configuration thus appear not only as boundaries but also as thresholds of creative power. Put another way, we can say that the deterioration of language also takes place "},{_key:"8075edfc99f61",_type:a,marks:[g],text:"within"},{_key:"8075edfc99f62",_type:a,marks:[],text:" language itself, and although the enjoyment of this deterioration is addictive, this negative pleasure finds forms of expression that can appropriately be located within the realm of the aesthetic: forms which in turn facilitate a discourse which itself enables an inscribing of the self into the world. It can perhaps be said that the donkey is always standing where enjoyment battles with signifiers, where the body absconds, where critique betrays its object and reveals itself as belief. The donkey invites us in, tricks us into staying awhile at this site of transition, into lingering at the point of contradiction—indeed, what would we be without it?"}],markDefs:[],style:f},{_key:"90d3b2d4a6d0",_type:e,children:[{_key:"92e388550fb9",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"f61a2896750b",_type:e,children:[{_key:"13380cf1e4270",_type:a,marks:[],text:"Zurück zum Langohr: Wir hatten den Esel vorhin an einem Übergang, an einer Stelle des Austauschs, der Instabilität des Begriffs und des Wechsels physischer und psychischer Kräfte positioniert. Wir können diese Konstellation nun genauer fassen, nämlich als ein Überleben im Angesicht eines gewissermaßen unaussprechlichen Realen, eines Widerständigen, Unbegrifflichen, Unmenschlichen, Absoluten. Beide Formen der Bezugnahme auf dieses Reale, also die Objektbindung vermittelt durch die Differenz der Signifikanten auf der einen Seite und die Überantwortung des Selbst an den Affekt auf der anderen Seite, ermöglichen auf sehr unterschiedliche Art und Weise eine Art Feedback, einen Bezug zur Welt. Beide Seiten dieser Konstellation erscheinen dabei nicht nur als Grenzen, sondern ebenso als Schwellen schöpferischer Kraft. Umgekehrt formuliert findet auch der Verfall der Sprache innerhalb der Sprache statt, und obwohl der Genuss dieses Verfalls süchtig macht, findet dieses negative Genießen Formen des Ausdrucks, die sich zurecht im Bereich des Ästhetischen verorten lassen: Formen, die wiederum einen Diskurs und darüber eine Einschreibung des Selbst in die Welt ermöglichen. Vielleicht lässt sich sagen, dass der Esel immer dort steht, wo das Genießen mit dem Signifikanten kämpft, wo sich der Körper davonstiehlt, wo die Kritik ihr Objekt verrät und sich als ein Glauben eröffnet. Der Esel lädt uns ein, er verführt uns für eine Weile am Ort des Übergangs zu verharren, im Widerspruch zu verweilen—was wären wir nur ohne ihn?"}],markDefs:[],style:f},{_key:"80062a799baa",_type:e,children:[{_key:"b9436aa1d122",_type:a,marks:[],text:p}],markDefs:[],style:f}]}
32,textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"4fdf2169c1ef",_type:w,leftCol:{_type:j,content:[{_key:"dad165a21735",_type:e,children:[{_key:"f66f4e966f440",_type:a,marks:[],text:"At this point it is hardly surprising that when it comes time for Christopher Robin to bid his animal friends farewell, Eeyore recites a poem. The literary and depressed donkey offers up a perfect example of a different way of speaking that exists "},{_key:"f66f4e966f441",_type:a,marks:[g],text:"at the outer limit of language"},{_key:"f66f4e966f442",_type:a,marks:[],text:", one which enables a restitution of the self aligned to a new cartography, a community, an audience. Figuratively speaking, what we see here is a closing of the circle between muzzle and tail, the outline of the donkey now appearing. "},{_key:"f66f4e966f443",_type:a,marks:[g],text:bp},{_key:"f66f4e966f444",_type:a,marks:[],text:" circulates around this bypass."}],markDefs:[],style:f},{_key:"0550067a3855",_type:e,children:[{_key:"60fbb86ab75a",_type:a,marks:[],text:p}],markDefs:[],style:f}]},rightCol:{_type:j,content:[{_key:"6f865c6e57de",_type:e,children:[{_key:"4a038e7fd3e60",_type:a,marks:[],text:"Es ist an dieser Stelle nicht allzu verwunderlich, dass Eeyore zum Abschied von Christopher Robin ein Gedicht rezitiert. Der literarisch-depressive Esel bietet uns hier exemplarisch ein anderes Sprechen "},{_key:"4a038e7fd3e61",_type:a,marks:[g],text:"am Rand der Sprache"},{_key:"4a038e7fd3e62",_type:a,marks:[],text:", die eine Restitution des Selbsts im Rhythmus einer neuen Kartografie, einer Gemeinschaft, einer Zuhörerschaft ermöglicht. Bildlich gesprochen schließt sich hier der Kreis zwischen Schnauze und Schwanz, die Silhouette des Esels erscheint. "},{_key:"4a038e7fd3e63",_type:a,marks:[g],text:bp},{_key:"4a038e7fd3e64",_type:a,marks:[],text:" zirkuliert um diesen Kurzschluss."}],markDefs:[],style:f},{_key:"d67da33fb3dd",_type:e,children:[{_key:"a5516b8a5180",_type:a,marks:[],text:p}],markDefs:[],style:f}]},textColorRight:{_type:Q,alpha:t,hex:R,hsl:{_type:S,a:t,h:C,l:Z,s:_},hsv:{_type:T,a:t,h:C,s:$,v:aa},rgb:{_type:U,a:t,b:V,g:W,r:X}}},{_key:"563790521fff",_type:I,img:{_type:u,asset:{_ref:"image-0f291b16e4423af91622fb010d4befff50c033c4-286x574-png",_type:h},caption:{_type:o,content:[{_key:"ea4ef91009e6",_type:e,children:[{_key:"e319a9bb4fc50",_type:a,marks:[n],text:"EN: Lukas Ludwig. "},{_key:"e319a9bb4fc51",_type:a,marks:[g,n],text:aFq},{_key:"e319a9bb4fc52",_type:a,marks:[n],text:aFl}],markDefs:[],style:f},{_key:"2d9189d32b6a",_type:e,children:[{_key:"8fd3f639501a",_type:a,marks:[n],text:"DE: Lukas Ludwig. "},{_key:"8f6ce28824f7",_type:a,marks:[g,n],text:aFq},{_key:"20362af81cb5",_type:a,marks:[n],text:aFm}],markDefs:[],style:f},{_key:"7e781186a838",_type:e,children:[{_key:"ad50095c364b",_type:a,marks:[],text:p}],markDefs:[],style:f},{_key:"ba7947ca8118",_type:e,children:[{_key:"29b0fabbf0840",_type:a,marks:[],text:"Elongated legs of a donkey take up most of the image. The hooves are standing firm, but shy, and the brown furry legs seemed determined, demonstrating its stubborn character. A black bar appears at the bottom of the image."}],markDefs:[],style:f}]}},size:am},{_key:"4ae8de545e58",_type:j,content:[{_key:"e644005856cb",_type:e,children:[{_key:"a06482422eaf",_type:a,marks:[z],text:d},{_key:"f719f48de447",_type:a,marks:[],text:"APPENDIX"}],markDefs:[],style:ac}]},{_key:"2388f9d5939e",_type:j,content:[{_key:"9741097778f9",_type:e,children:[{_key:"da52fe44a14d0",_type:a,marks:[g,B],text:"Eeyore’s Poem"}],markDefs:[],style:f},{_key:"b4e0974aa142",_type:e,children:[{_key:"4393c44554c5",_type:a,marks:[g],text:"Christopher Robin is going\nAt least I think he is \nWhere?\nNobody knows\nBut he is going—\nI mean he goes\n(To rhyme with ‘knows’)\nDo we care?\n(To rhyme with ‘where’)\nWe do\nVery much\n(I haven't got a rhyme for that ‘is’ in the second line yet. Bother.)\n(Now I haven't got a rhyme for bother. Bother.)\nThose two bothers will have to rhyme with each other\nButher\nThe fact is this is more difficult\nthan I thought,\nI ought—\n(Very good indeed)\nI ought\nto begin again,\nBut it is easier\nTo stop\nChristopher Robin, good-bye\nI\n(Good)\nI\nAnd all your friends\nSends—\nI mean all your friend\nSen
32d—\n(Very awkward this, it keeps\ngoing wrong)\nWell, anyhow, we send\nOur love\nEND."},{_key:"8cb15b4c5ced",_type:a,marks:[],text:d},{_key:"c8a5b65274fb",_type:a,marks:[s],text:eo}],markDefs:[],style:f},{_key:"0257561c0f13",_type:e,children:[{_key:"8ccc5db112f9",_type:a,marks:[z],text:d}],markDefs:[],style:f}]},{_key:"8d604dd32f5ceec0c7578005f9af30a0",_type:at,audioFile:{_type:J,asset:{_ref:"file-e78ffdaa340e88fc1ebb3aa9e8452a5cda1dea2d-m4a",_type:h},caption:{_type:o,content:[{_key:bq,_type:e,children:[{_key:br,_type:a,marks:[n],text:bj},{_key:"a409d039b4a8",_type:a,marks:[g,n],text:"Clerestory"},{_key:"20c16b171819",_type:a,marks:[n],text:" by James Rushford. Live recording at Hospitalkirche Stuttgart, 2017. Courtesy Lukas Ludwig. Copyright James Rushford."}],markDefs:[],style:f}]}},shrink:i},{_key:"63f0181c24b5",_type:w,leftCol:{_type:j,content:[{_key:"2fc9b2e80d45",_type:e,children:[{_key:"244746fea736",_type:a,marks:[],text:SM}],markDefs:[],style:F},{_key:"14cf824e1e6f",_type:e,children:[{_key:"643a47204d6a",_type:a,marks:[],text:aFr},{_key:"bdb692f037a4",_type:a,marks:[g],text:aFs},{_key:"7172584628c2",_type:a,marks:[],text:aFt}],markDefs:[],style:r},{_key:"f952e0472fcd",_type:e,children:[{_key:"6d242d1c8a150",_type:a,marks:[],text:"See Martin Vogel, "},{_key:"c0263bb4596c",_type:a,marks:[g],text:aFu},{_key:"cdc09bae919a",_type:a,marks:[],text:" (Onos Lyras, or: The Donkey with the Lyre) (Düsseldorf: 1973)."}],markDefs:[],style:r},{_key:"00681335ecc7",_type:e,children:[{_key:"f7663162b59c",_type:a,marks:[],text:"See Veb, "},{_key:"fe259da87ba9",_type:a,marks:[g],text:aFv},{_key:"3611f6e92377",_type:a,marks:[],text:aFw},{_key:"03a83ed1dddb",_type:a,marks:[aFx],text:fz},{_key:"637a82934063",_type:a,marks:[],text:", last accessed 09.02.2022."}],markDefs:[{_key:aFx,_type:q,href:fz}],style:r},{_key:"18d3e1504fd5",_type:e,children:[{_key:"73ffadb4f065",_type:a,marks:[],text:aFy},{_key:"12872bbcb381",_type:a,marks:[g],text:SE},{_key:"a4c91645f73e",_type:a,marks:[],text:" (The Animals of the Ancients), Vol. 1 (Leipzig: 1909), 260."}],markDefs:[],style:r},{_key:"e5a60749bcf7",_type:e,children:[{_key:"59eb0ddaa4f2",_type:a,marks:[],text:aFz},{_key:"7ab421fe5253",_type:a,marks:[g],text:SF},{_key:"7df733b207b3",_type:a,marks:[],text:", trans. E.J. Kenney (London: 1998), p. 14."}],markDefs:[],style:r},{_key:"de355d3a32f3",_type:e,children:[{_key:"d0223e03ad09",_type:a,marks:[],text:aFr},{_key:"8f6b4e2a5a31",_type:a,marks:[g],text:aFs},{_key:"ad75758f7f71",_type:a,marks:[],text:aFt}],markDefs:[],style:r},{_key:"20264d486f38",_type:e,children:[{_key:"b2191bdcefe3",_type:a,marks:[],text:"Ibid., 10."}],markDefs:[],style:r},{_key:"f73a53eecffb",_type:e,children:[{_key:"8ca8fb185872",_type:a,marks:[],text:"See Wolfgang Lempfrid, radio manuscript for “Feasts of the Ass and of Fools: Medieval Music between the Church and Heresy”, Süddeutsche Rundfunk, 1993, "},{_key:"fcba05379d83",_type:a,marks:[aFA],text:fA},{_key:"1abd4e973ce1",_type:a,marks:[],text:", last accessed on 09.02.2022."}],markDefs:[{_key:aFA,_type:q,href:fA}],style:r},{_key:"0b1c057334aa",_type:e,children:[{_key:"927b88f72557",_type:a,marks:[],text:"See Christopher Milne, "},{_key:"bee670e2c904",_type:a,marks:[g],text:aFB},{_key:"9f88efb8bc10",_type:a,marks:[],text:" (Boston: 1974)."}],markDefs:[],style:r},{_key:"9426a295a1e8",_type:e,children:[{_key:"050581395a94",_type:a,marks:[],text:"See Alan Alexander Milne, "},{_key:"b448750a8420",_type:a,marks:[g],text:aFC},{_key:"7a2176ee606d",_type:a,marks:[],text:" (London: 1917)."}],markDefs:[],style:r},{_key:"55ab9f801c00",_type:e,children:[{_key:"ee28f08aaeda",_type:a,marks:[],text:aFD},{_key:"8184d88c4993",_type:a,marks:[g],text:SG},{_key:"13e46f88a70c",_type:a,marks:[],text:", Walt Disney Productions, 1983."}],markDefs:[],style:r},{_key:"557dbd1ca6c3",_type:e,children:[{_key:"1c101452600e",_type:a,marks:[],text:"A “leap of faith” as formulated by Søren Kierkegaard insists upon a fundamental separation between human existence (and rationality\u002Freason) and the eternal, the absolute, or the divine. Although this difference is mediated (to put it briefly) by the Christian to
32pos of God taking human form in Christ, it presents human beings with an unresolvable paradox. When Kierkegaard writes that “faith begins precisely where thinking leaves off”, the leap of faith is intended to be seen as a liberation from ethical and epistemic conceptions of belief in service of the radical gamble that belief constitutes, a necessarily irrational action that requires ongoing repetition. See Søren Kierkegaard, "},{_key:"0de09c68c4c9",_type:a,marks:[g],text:"Philosophical Fragments"},{_key:"bd4f842313e0",_type:a,marks:[],text:aFE}],markDefs:[],style:r},{_key:"b5cdcf6853c9",_type:e,children:[{_key:"f8ccb4c9c34f",_type:a,marks:[],text:aFF},{_key:"9c63959001df",_type:a,marks:[g],text:SJ},{_key:"458e1626bbde",_type:a,marks:[],text:", trans. Leon S. Roudiez (New York: 1987), 14."}],markDefs:[],style:r},{_key:"04802b07be57",_type:e,children:[{_key:"89a65cfde1e0",_type:a,marks:[],text:aFG},{_key:"57de68338869",_type:a,marks:[g],text:aFH},{_key:"a1bae1772278",_type:a,marks:[],text:" (Introduction to Medieval Mysticism) (Leipzig: 1998), 9."}],markDefs:[],style:r},{_key:"3a6588e81b85",_type:e,children:[{_key:"3b99c8dd5b4a",_type:a,marks:[],text:"See Denys Turner, "},{_key:"fa1467a56fd1",_type:a,marks:[g],text:dp},{_key:"e12e9d304cae",_type:a,marks:[],text:" (Cambridge: 1998)."}],markDefs:[],style:r},{_key:"ae5a78cee4ca",_type:e,children:[{_key:"da9970c89b31",_type:a,marks:[],text:"Ibid., 8."}],markDefs:[],style:r},{_key:"acc96aa3770e",_type:e,children:[{_key:"ff3509d24319",_type:a,marks:[],text:"See Karen Armstrong. "},{_key:"7fe002fe45b5",_type:a,marks:[g],text:"The Case for God ("},{_key:"50d90b13e4aa",_type:a,marks:[],text:"New York: 2009), 105"}],markDefs:[],style:r},{_key:"0b6cef0e7998",_type:e,children:[{_key:"cb9a20a4d060",_type:a,marks:[],text:"Turner, "},{_key:"2319f42711d1",_type:a,marks:[g],text:dp},{_key:"44d7dd59d66a",_type:a,marks:[],text:", 20."}],markDefs:[],style:r},{_key:"29740da448b3",_type:e,children:[{_key:"d24a1b23caeb",_type:a,marks:[],text:"See Kristeva, "},{_key:"15a6256bc167",_type:a,marks:[g],text:SJ},{_key:"64fa46fd66f6",_type:a,marks:[],text:", 59."}],markDefs:[],style:r},{_key:"c5153a6f9a5d",_type:e,children:[{_key:"2a21f80c781f",_type:a,marks:[],text:aFI},{_key:"a6dbe1fdacd5",_type:a,marks:[g],text:aFJ},{_key:"72d5254019b3",_type:a,marks:[],text:" (New York: 1928), 106."}],markDefs:[],style:r}]},rightCol:{_type:j,content:[{_key:"1b1ff8d45970",_type:e,children:[{_key:"27ef34288ada",_type:a,marks:[],text:"Endnoten"}],markDefs:[],style:F},{_key:"843970b2af77",_type:e,children:[{_key:"5fa12b81025f",_type:a,marks:[],text:aFK},{_key:"344edfd2be37",_type:a,marks:[g],text:aFL},{_key:"2401c953ecf8",_type:a,marks:[],text:aFM}],markDefs:[],style:r},{_key:"ff3db69b5e8b",_type:e,children:[{_key:"484ee308de5d",_type:a,marks:[],text:"Vgl. Martin Vogel, "},{_key:"2d7af952fcb8",_type:a,marks:[g],text:aFu},{_key:"cd3cb689fa79",_type:a,marks:[],text:", Düsseldorf 1973."}],markDefs:[],style:r},{_key:"7bcaf58656fb",_type:e,children:[{_key:"efffa7c41e95",_type:a,marks:[],text:"Vgl. Veb, "},{_key:"2d1c151d492d",_type:a,marks:[g],text:aFv},{_key:"18526ba88321",_type:a,marks:[],text:aFw},{_key:"442e67f2ac39",_type:a,marks:[aFN],text:fz},{_key:"f64f928fb3cc",_type:a,marks:[],text:SN}],markDefs:[{_key:aFN,_type:q,href:fz}],style:r},{_key:"188726808ca0",_type:e,children:[{_key:"b8f1a1cb08d9",_type:a,marks:[],text:aFy},{_key:"5079a2c29f7c",_type:a,marks:[g],text:SE},{_key:"2fb36a411e9a",_type:a,marks:[],text:", 1 Bd., Leipzig 1909, S. 260."}],markDefs:[],style:r},{_key:"87f945466126",_type:e,children:[{_key:"0dc2d9ccf561",_type:a,marks:[],text:aFz},{_key:"e5e933365301",_type:a,marks:[g],text:"Der goldene Esel"},{_key:"bbda8983965f",_type:a,marks:[],text:", Fischer E-Books 2011, "},{_key:"d9c19a8f559f",_type:a,marks:[aFO],text:aFP},{_key:"4e86deaa4776",_type:a,marks:[],text:SN}],markDefs:[{_key:aFO,_type:q,href:aFP}],style:r},{_key:"d3c012db038c",_type:e,children:[{_key:"cab800cad20f",_type:a,marks:[],text:aFK},{_key:"6f2a61d12197",_type:a,marks:[g],text:aFL},{_key:"221c205e736a",_type:a,marks:[],text:aFM}],markDefs:[],style:r},{_key:"4b3d64ceca8f",_type:e,children:[{_key:"9fb96bcad5f9",_type:a,marks:[],text:"Ebd.: S. 10."}],markDefs:[],style:r},{_key:"43bdfd325878",_type:e,children:[{_key:"5cae9c286dc9",_type:a,marks:[],text:"Vgl. Wolfgang Lempfrid, "},{_key:"48354fac41ca",_type:a,marks:[g],text:"Sendemanuskript Von Narren- und Eselsfesten. Mittelalterliche Musik zwischen Kirche und Ketzerei"},{_key:"b707e81ea66a",_type:a,marks:[],text:", 1993, "},{_key:"e6719df8ce7a",_type:a,marks:[aFQ],text:fA},{_key:"45be023a561c",_type:a,marks:[],text:SN}],markDefs:[{_key:aFQ,_type:q,href:fA}],style:r},{_key:"1e8d07166eff",_type:e,children:[{_key:"72c612a56499",_type:a,marks:[],text:"Vgl. Christopher Milne, "},{_key:"d039914e70c7",_type:a,marks:[g],text:aFB},{_key:"b3fd63344a60",_type:a,marks:[],text:", Boston 1974."}],markDefs:[],style:r},{_key:"59a2f1a0ef2e",_type:e,children:[{_key:"72ebf4816e8f",_type:a,marks:[],text:"Vgl. A.A. 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Wenn Kierkegaard schreibt: „Der Glaube beginnt gerade da, wo das Denken aufhört“, ist der Sprung in den Glauben vor allem ein Befreiungsschlag gegenüber ethischen bzw. erkenntnisbezogenen Glaubensbegriffen zugunsten der radikalen Wagnis de
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325-a833-715bb728971e","Oliver Husain: ","EP Evans, ","The Criminal Prosecution and Capital Punishment of Animals","—","Kalila wa Dimna","Journal of the American Oriental Society","Kitāb al-Ḥayawān (Book of the Characteristics of Animals);","0c4296bb-a463-4355-ba47-ca833155367a","66e7a7ed-4e57-4706-ac66-00c48922d0a9","2022-07-25T09:41:23Z","3d54b415bb7c3701da0683d1c1cf3d2b1470c882","#fcf4cc",31.27,"Still from, Late August at the Hotel Ozone (Konec srpna v Hotelu Ozone) 1967, Pavel Juráček and Jan Schmidt.","Screening Room","Joseph Kilian","Joseph Kilian "," In ","Hotel Ozone, ","Acknowledgments","5ec521a0f24ad1f237b60ae790dae5344289b372","#81787d",7.53,"Objects with Personality","Before Law","Another Gaze","Donika Kelly","e28e1661-bc02-40cb-973c-60f901596d60","Oliver Husain","9d3a631b-4ea4-45d3-9542-9b40ac4a730c","6f41d937-06d4-429a-82d1-f985721c0547","Sukaina Kubba","collection",1800,"#424242","463cfef46aae",",","20","5b70b89d-e6e8-45f2-a6be-cd54f0b6239e","8433695f-ec83-4eaf-a8ab-198bcc026953","2b96a5e3-1333-428b-bea3-04593a4defe4","images","63d819ce-786f-4ddb-a648-4500ea6cfa3b","e6d4f841-6eb8-421d-a059-bad7eeaa4e25","ddf2c988-5ed8-4dc6-b796-08a574fdd7fa","51c59e92-1323-40ca-b801-a504e5e0cc7e","slideshow","178dd1e0-26d5-4e85-8deb-8f6aabe4e4fa","c243d56abc49","a900063d26c7","d57e2f0c2f4e","4016be3b1b6e","Still from, ","1dd153627840","e28b40c45f7c","cc0113837191","33ce15133e5f","76e1580631960","c06817332182","7fb501d85b13","b67ae8a997d6","9b423b0e0d7d","https:\u002F\u002Fbefore-law.com\u002Fscreening-room","e4a4d572d2b2","2cdbb8bb1d98","c4ff62aa75b2","de1cb91ee0d0","9f3cad0581b8","71a150934d9b6","5319a73f4183","081f8b3fb777","40fa2c59d471","09be2697397f","4e43167e2f09","0f80a9c50c92","abd47e8f5d12","e1119690d2c4","2023","096373a7f526","3e75320e197e","04cca8dfe27e","82b9a171207b","2fa8c2b6e2a2","6a9157863128","7949efb7f304","6731f4019955","c72df1a62b74",", 2019.","6931c39e-5649-490b-b11c-1106c4afb652","99d3a1d6-c78e-40e1-bd87-1f4bb72f73f2","111a16ed-4447-46d2-9e46-609008747229","Renèe Helèna Browne","4172cb88-14ba-49c9-99d2-ed045dccbcdb","c165b393-6895-42eb-b806-e3eddf0991c9","A Crossing (1698\u002F2003)","image-557fce0454f1be6f7205df7fccddb0e1d2cc3235-3339x1800-jpg","557fce0454f1be6f7205df7fccddb0e1d2cc3235","Image Description: The image is divided into 3 - the first two images take up a quadrant at the top of the page. The 3rd takes up the bottom 2 quadrants. In the top left image, a grey rock floats in front of a shimmering gold background. In the top right, many bees sit atop a honeycomb that is lit from behind with golden light. At the bottom is a black screen with the open caption reading: soft sparking chimes.","#72370b",10.19,.19,"I","https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=W7EC4nQ6Qqk","http:\u002F\u002Fwww.koelnklavier.de\u002Ftexte\u002Faltemusik\u002Feselsfeste.html","Empire Symbol, Or A Man and His Mule","image-a3d403c89c87010a4f234f6d002687dcc823fd46-4000x2244-jpg","Empire Symbol, Or A Man and his Mule","Image Description","2022-11-06T22:58:03Z","43b3ee1ba4924592ac69f2f814025fb912b3e43a","#9f8a5f",2.36,"2022-07-23T12:07:52Z","2dd77672-3c48-44b9-80f9-e5d587ea66ce","jtDBlcq4pMGPmfdUx6mjvQ","2022-12-04T23:31:03Z","c893a379c195","261303c691be","Parastoo Anoushahpour, Faraz Anoushahpour, and Ryan Ferko: ","41582c57fa01","Bite & Hold, ","624d33ddc4ac","2022.","667d389d98d1","6ee1125640b9","file-ac1a5eacb4a5d1bc889ea8f50fa84df2a1ec5fba-pdf","Before Law—P-F-R: Bite & Hold","1604caf40efd","5d2380833897","216c4029d8040","Canine units and their service dogs are a leading cause of violence and injury in most police jurisdictions across North America. Despite this prevalence, violence related to dogs remains under-reported and under-regulated, largely stemming from their legal classification as \"intermediate weapons.\" In cases of harm inflicted upon citizens, this classification splits legal responsibility between the handler and the animal, rarely finding officers accountable while promoting the use of dogs over other types of weapons.","75474d1cb624","c8e180d31893","Simultaneously, through school appearances, holiday calendars, and social media channels, these same dogs are used to neutralize the violent reality of police departments. ","f85559ec1b1e1","Bite & Hold ","f85559ec1b1e2","contests this manipulated public image, placing an archive of canine unit Christmas cards in relation to the direct violence officers use their dogs for. Filmed from a distance in various public spaces, the daily life of the city passes in front of and behind these images, either obscuring their surface or momentarily turning them from negative abstractions into moments of clarity. The language of witnessing, testimony, and description add a final, silent layer to these images, returning them to their violent reality.","607a5efad433","2907570ef7760","b6362ea6e1cc","933b59bcc4f1","This Video contains Flashing Imagery","689ec0235b43","701d4d96b3a9","cb0dc4a4f21e0","Image description: Three German Shephards sit in the lower left of the frame on a black stage floor with artificial lighting. To the right of one of the dogs is a red sledge hammer, and the leather boots of an unseen person. The rest of the scene is obscured by a blurred figure passing in front of the image.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F757007656\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=bfc1b2bba0a36970b24a77ddce00e7859b0e3a2a8db9af8047d82a901ef7db4e","a7bb0ac85ead","69256e98d32b","b16961ea7f70","213edabb2858","741150d29a2c","1615a9627489","b95525f75ada0","Image, Editing, Sound: Parastoo Anoushahpour, Faraz Anoushahpour, Ryan Ferko","74f686a39354","57f
32685ec80db","Image descriptive captions: Marina Fathalla","ebe732c5fd31","4e0623e9135a","Additional text: Dennis v. City of Vancouver, 200, British Columbia Provincial Court (BCPC) 082:\n","41dd9ec3b5830","0111fbdadd8c","3d2854a4b5610","Images & videos sources in order of appearance:","17518e44d792","1c936b078a1f","Pool Party. Digital photograph, Edmonton Police Service Annual Canine Unit Photo, 1984:\n","4a4df7fc25b31","a9b374f00f97","c5351f50ad210","Ninja Turtle. Digital photograph, Edmonton Police Service Annual Canine Unit Photo, 1991:","70f20647ec310","\nhttps:\u002F\u002Fwww.edmontonpolice.ca\u002FCommunityPolicing\u002FOperationalServices\u002FCanine\u002FChristmasCards","e9f48c8b54b5","8b14a63befd30","Edmonton Police Service Canine Unit [@epscanine]. “Day one for our decoy seminar with ","8b14a63befd31","@grassrootsk9","8b14a63befd32",". Thx for coming out this way\n","8b14a63befd33","8b14a63befd34","8b14a63befd35","#workingk9","8b14a63befd36","8b14a63befd37","#psdAmok","8b14a63befd38","8b14a63befd39","https:\u002F\u002Fwww.instagram.com\u002Fgrassrootsk9\u002F","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fworkingk9\u002F","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fpsdamok\u002F","828bce96755a","7adcb25bc13d0","Edmonton Police Service Canine Unit [@epscanine]. “can u say Focus... there is a lot of value to the down. First capping rep.\n","7adcb25bc13d1","#psdGando","7adcb25bc13d2","#tiredQuarry","7adcb25bc13d3","7adcb25bc13d4","@alabamak9","7adcb25bc13d5",".” Instagram post, April 14, 2021:\n","7adcb25bc13d6","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fpsdgando\u002F","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Ftiredquarry\u002F","https:\u002F\u002Fwww.instagram.com\u002Falabamak9\u002F","8a1b16354c9f","3cd0eeda9b6a0","Edmonton Police Service Canine Unit [@epscanine]. “","3cd0eeda9b6a1","#DMTC2021","3cd0eeda9b6a2"," is back in business. Continuing to work on obedience and control. Ppsd Zeus working for food and rewarded in place.\n","3cd0eeda9b6a3","#buildingBlocks","57df2880fe81","3cd0eeda9b6a5","#week5","3cd0eeda9b6a6","#springfinallyhere","3cd0eeda9b6a7","@majesticmalinois","3cd0eeda9b6a8",".” Instagram post, May 4, 2021: \n","3cd0eeda9b6a9","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fdmtc2021\u002F","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fbuildingblocks\u002F","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fweek5\u002F","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fspringfinallyhere\u002F","https:\u002F\u002Fwww.instagram.com\u002Fmajesticmalinois\u002F","9b68cd8494d1","a2c75eba322e0","Edmonton Police Service Canine Unit [@epscanine]. “Punching into the leg bite with ","a2c75eba322e1","#psdMyke","a2c75eba322e2","a2c75eba322e3","@lethbridgepolice","a5fb964d9f62"," #@grassrootsk9 ","a2c75eba322e5","a2c75eba322e6","a2c75eba322e7","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fpsdmyke\u002F","https:\u002F\u002Fwww.instagram.com\u002Flethbridgepolice\u002F","25fb578a4d81","7a2aeb650daa0","Stars. Digital photograph, Edmonton Police Service Annual Canine Unit Photo, 1994:\n","99f8dd9c65720","d37fa5e7fd88","67aa9b11a5d70","Poker. Digital photograph, Edmonton Police Service Annual Canine Unit Photo, 1980:\n","6bd9ac8211d90","c931209ca768","fd90c46b4e6b0","Camping. Digital photograph, Edmonton Police Service Annual Canine Unit Photo, 1985:\n","fd90c46b4e6b1","66714f2184d3","08799a66e7520","Edmonton Police Service Canine Unit [@epscanine]. “DMTC Week 6 ","e761f42f31451","#PPSDZeus","e761f42f31452"," says thanks for the rain Mother Nature! Tracking is hard enough, we will take all the help we can get!.” Instagram post, May 10, 2021:\n","e761f42f31453","https:\u002F\u002Fwww.instagram.com\u002Fexplore\u002Ftags\u002Fppsdzeus\u002F","d5ee1ac6ebbe","bd8c4bf611e70","Edmonton Police Service Canine Unit [@epscanine]. “Local eagle in the area sent us this footage of PPSD Duco’s track from last week. How do they do that ?.” Instagram post, May 5, 2020:\n","44048895e0c01","045dd3cd7dae","7cb1f0c8a37c0","Police Car. Digital photograph, Edmonton Police Service Annual Canine Unit Photo, 1995:\n","8e061b282cf41","98307c7158d2","0dcecaf674850","“Pictures of Scott’s wounds show the puncture hole where the police dog’s teeth entered his torso.” Digital photograph, Moving to Minimum Force: Police Dogs & Public Safety in British Columbia, Pivot Legal Society, Vancouver 2014, pg 14:\n","6e886fe6f0091","395967749b19","a992ea59f7600","“Photos of the injuries to Chris’s right leg, taken by Chris at the hospital, show the capability of a police dog to cause severe injury.” Digital photograph, Moving to Minimum Force: Police Dogs & Public Safety in British Columbia, Pivot Legal Society, Vancouver 2014, pg 21:\n","6b425e97ff991","0c327b6e7541","e7dba087fc7b0","Yukon Schutzhund Association. BH PATTERN WITH DOUG BEACON. Hillary and her \"dog\" Andre demonstrate BH exercise 1 pattern, with Doug Deacon instructing. Facebook post, July 27, 2017:\n","95b2fc12d14b1","e84e04dbbd37","50eb669fe8070","Tools. Digital photograph, Edmonton Police Service Annual Canine Unit Photo, 1989:\n","840adf0dea070","aa6ab1a72e33","ad241db0da12","26a7859e62a7","ecb9563245a7","43f8afeadc57","eee7e9f05111","This project is indebted to the legal advocacy and reporting of Pivot Legal Society, in Vancouver, and their report ","d5b919ba0908","Moving to Minimum Force: Police Dogs and Public Safety in British Columbia","e5ffa67432b4",", which can be read in full ","0d4a88f17f77","here.","https:\u002F\u002Fwww.pivotlegal.org\u002Fmoving_to_minimum_force","ef5c8e891e0f","d11a9bff3881","Special thank you to Caitlin Shane, Sharlene Bamboat, Alexis Mitchell, and Aamna Muzaffar","9adeefd1
32560b","f53c5e3476c8","af16861ab602","a3b30bd45c50","54fbe175a168","372f55213ff6","(English; 14 minutes)","d407cf259004","f9a04fd4e416","0e542a7f6415","268071013569","95378d7947f5","92a6abd684e6","b33e157fd3ef","bb4883181da6","7b0acb84029d","634060f937e4","f57defe1df67","1972fac8aac9","304fe010deab","81ab85d93a03","Bite & Hold","bite-and-hold","e32e3267538b549f008d21ae76b5d59730fce83c","#540611",3.07,"fdd71a3a-b621-4569-ba12-f5a38fe4f755","dfc0a333-0bcc-4c35-a7c8-751ddf7f7837","3e81a2aaf5cea179dce2735b0aa7b37da1ab479c","#7b807b",.93,"8792e0a3-4d0f-4fb0-9340-7f60e1a8d0d1","0155bb59a278acf3837532081643bc7842c22236","#e29382",8.85,"image-44515f6b8395e7a3c7f5a3095eec14908315b518-3971x3024-jpg","44515f6b8395e7a3c7f5a3095eec14908315b518","#326463",1.19,"my","93d94771-930f-4c77-9753-c94a3df63787","721ca74291796d54809cb399573c8de8eb32ec74",1440,4.1,"Late August at the Hotel Ozone","The Trial, ","The End of August at the Hotel Ozone ","’s","21","ENDNOTES","Karl Marx, ","Ibid., p. 3","677104f32e55","2022-07-23T15:45:05Z","0437c3d2-bf66-4c25-8ee0-2a15535eacb0","jtDBlcq4pMGPmfdUx5N2t5","2022-12-04T14:47:03Z","b1caede46533","5240ea29d8a4","Jeanne Penjan Lassus & Shahana Rajani: ","9a7ff685efe4","9e5a1f5ae518",", 2022","bc26fd7658fe","907b06a7af73","6ea4b1ea03e2","file-b19acc83bbdfa06b9973a0cf3c349ae200a4da2e-pdf","Before Law—Jeanne Penjan Lassus & Shahana Rajani: The Sea in the River","edb302803581","7fe91dc1c342","7dd0ad6202e50","The Sea in the River ","7dd0ad6202e51","is a journey across a river and sea shrine in Sindh, Pakistan, guided by water pedagogies of fisherfolk communities in the Indus delta. As the Indus river has been cut, dammed, barraged, and canalized into the largest irrigation system in the world, sweet water no longer flows into the Indus delta. Most of its inhabitants have been forced to leave following the disappearance of the river and a fast encroaching sea. On many islands, shrines are the only structures that remain. In their persisting materiality, these sacred sites bear witness to the geographies of loss, to the histories of presence and belonging in the delta. While state and scientific studies cast the delta as a site of ruin, beyond hope and repair, the shrines persist, bringing up other temporalities, cosmologies and modes of witnessing.","d159723be571","af8319aab4680","08820df9b039","7d78948841b50","Despite the absence of the river, stories of its aquatic intimacies continue to circulate. They hold a multispecies yearning for sweet water. The palla fish is central in these tales, appearing at the junction of river and sea. Their presence alerts humans to the making of a sacred union: the sea in the river, the river in the sea. Our journey follows past pilgrimage routes of the palla fish from the delta up the river, age-old movements now obstructed by dams and barrages. We travel up the Indus river to the shrine of Khizr Hayat, also known as Zinda Pir, the saint of all water bodies. From there, we make our way back to the Indus delta to the shrine of Dada Sanvlo, the saint of sharks, in Mul creek close to the India-Pakistan border. Amidst sensings of tension and disturbance in these changing landscapes, we listen to the sounds and stories of these saints, to their kinship with marine beings, to dream worlds and hidden realms, to the aliveness\u002Finterdependence of sea and river.","9bcf4e56fbbf","fd5b9cb46ad80","104f6f8060c9","4b368e93fb13","For a better experience, slow down, and tune in with headphones.","f3caa59fd240","2d7d41ab512e","95fc0297aee5","0541048d26f4","12e74d0e8ac5","c63c0a134876","a7098dbf505e","eb3be8237943","f68d20203d25","b57159708a41","d16041c4fa3d","5a1453bd6781","1a76bd2dab82","fad89afa86b0","cfd527e341a2","1ef928c2ecaa","94982d063f41","47c343e0f5c6","7d79fa74b7dc0","7c02c7ed06df","871ce5d68264","b6f60c691f64","75d0a655df9a","432e03d678ef","8ae15e9c96e6","72b41ab8b777","e0d27a5b33f8","8e7d032e3004","8e6b80ba4ce4","2f6fef7eed33","8cf959f56e86","425db4a3e1ce","e4fdaffa179e","82c96f1643c4","9b5120ae27e4","6b33dfb695ef","03a21778e76a","5399bf9b0d7c","c6c47c6c2567","2f69926dbfec","46c56ba9387b","b620f6498284","dd85605b2584","5eb923cd18c0","dcb661bec618","ae074f4f8bf7","4cd8efbf8dec","1ae42b48e695","a432aa65c691","91299d6d9c7e","bf487cfbe5f4","15db6ae629d7","f08e327e8dc6","fc63c1399a20","d1fc0772bbc6","2b65516c4c3a"," ⚐\n","12bc8b9fbdec","31a146ea1f67","6786fc681ee7","3997c7caa3f7","57b4dd721b3a","27df2bdd9df7","ee64b4ca7552","358a86385b93","be4ba6b6f9ab","6e1dd725aaa4","cd66de3d6690","062eebd3d5fa","c4ba12e9da4f","e9fdfceab827","b90d7176d094","86edc1ebc46c","f51cbc968099","17861c113ce1","467f35188219","ae3f1eadc3f1","bed413c7cdde","the junction of the two seas\n","dd4f01b546f0","2f390b20b685","1ec9bab22203","cc449929bf1e0","06d75823123d","caa46cff7876","Musa was told he would find Khizr Hayat\nat the junction of the two seas.","96345a852611","f4ba51cb5bef","He sets out on his 
32search,\nalong with a salted fish\nhe had been asked\nto carry with him.","ec0b64650068","c49a3428df09","Here at the junction,\nthe salted fish comes to life\nand swims into the sea.","6a015455ff98","360516b2b85a","Here, is where he finds Khizr.","daf2091a7bad","fa5b5a294ed7","d53c44ef2be1","a0d8e6d9ccc2","f180bbc69d05","aab45a1dc25f","570f84c13ad0","f2063c1dd102","00d01e2bf16d","c62de9541ba2","e8fe44dd9296","1f77120cc2ed","5ce709a99f7a","eae77f0e3b21","33b210717239","3c430bdef1de","5a993e9d73c9","528aa23f2b66","The junction is a threshold","cbc3409605e1","84be6595cceb","098a6094b8b4","ece2e3df7591","bd62eda39854","a site of crossing and connection","b4e588b74e20","1a22230c206a","2794967002e4","d5a21c30522a","f59caa9d04c1","764bfe9bee3f","21c8e27176d1","cfdbab6f028b","76ddbb3f9a29","da3afb1c1386","1bc70f75754e","a place where two bodies meet\n","3995321e5777","a194f6ad9b26","c5cbeb8a0088","ce21f75f5212","76ff73e9fe20","7c4fd397bd69","d55df3207f89","32ab01ff2814","f5942e96396e","9596698c2a67"," realizing they are not distinct or separate\n","2a3b95bf24d0","b838788cb5ff","f7c7810a289b","49e870a9ae6d","011b4a0115c0","71ffb9781e88","b1b0a2334c82","7cdb03a5394b","6026cb001ae4","0e3177acfb40","3d369d734377","4fc53903f893"," but intertwined and interdependent.\n","6ba976d973f2","7e1b8e765f84","7fa1caa24a5e","2f3cbe753c1a","\nIn the delta, \n","e9ba3cff89e9","4c2f279ae872","74dae3a3a15c","de3c19570861","d03d6a037484","787e9e58ea58","50c4d650ab15","d86c4969d1f4","22ef4d2319fa","641d4e4d4635","9a0abe038646","fe8059ac6d08","71282e0feed1","5256653869ff"," the junction\n","010087fd91f2","fb0e01ba020e","510cc50484da","5cc150ea01aa","eca1753a5839","fec72079402a","4b4dcb761b07","f580a311a267","9574c3ad36b4","a4e198aceea9"," is the meeting of the river and the sea","cd0385640d84","68adfb375b71","b77295133785","210d4de6801d","f4a49cb6c198","8949c754a3d7","9616eaab0037","ec82691b1bab","4d1e84bfed08","dc4792d5a0ea","9eb346dadfc2","38757c5f0ef9","adf5b8b0b163","71c3d53741d7","2c8970d88e22","d50f911472e3","f4151c4c72e5","2a830a8eb3bf","66da2ee43f5b","c5667ccee98c","507ffda0a243","197c357faf04","4ebdece80583"," of the dead and the living","6fc4c1164f79","1aeadfddd2f5","1841c9e6fb8c","d684284bcfd9","a86f0aeee1de","a0f635fbbf8e","09cc23ca4b5c","c2149bb6909e","2d91d92a39bc","b55cacbdd0ca","f07d13243a9f"," of human and more-than-human worlds.","a755ab6445cd","298de1abdfe0","25164ed50c9f","0dcb7e44b27d","a247d5522849","701b634a2cd3","6f92849b1922","7b6ba822ce06","272dc9c643d1","9005062a6292","b11eac5d4510","996b889389f9","c165a251c3c6","image-ee09031dda3df952757fab38cda7a1b8f8c4c8e6-5120x2880-png","36dde17f91a6","9036837428310","Image Description: In the foreground is a blue river with slightly choppy waves. At the edge of it is a thin piece of land peppered with small green trees. Behind the trees, more water flows under a light blue sky.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F762098400\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=2bfcacdfa5c99bf9a1cfe0ac41026ed5fc28863f649d766f0bb50f728e910b3d","db31a5772d60","9ac63722a9c0","81c07736a2d5","a78a533016e3","a253c1adc56e","9a40d7304a41","676c7053e50f","485628eaa8c8","3da2968f6687","7d200487f0e5","d8b09d634c45","d1f0d047adf8","8ac62041ba1a","7a02717b768f","9d5bda63e108","5f4ff2b23f2b","70435a7e8a3c","e2994a75145a","014a56ff8183","77dd67b58170","670027b35328","3a250395cd9b","3312c548fcf4","b0f050422f71"," During our travels in the delta,\n","33020a7bf4ff","19bb69ccd7d8","53ff827a9851","2a3715d28643","6d7d560d72f2","89da3a372280","a13bc4442815","e524a4e8619c","a384f78b7d9e","4cdbe917c7b3","df223c9a8224","60b105a79424","b58c694b1d1c","a1b035d7008e","83712fd85631","83f775b2ecba","e8bae85938db","1227750a739b","6db24dde58a4","8fbe95d97374","  everyone we met\n","d8494b2102c8","da63fdbcde4d","b87726074ab5","1791939be061","8ceee5d8de67","7c6c497b9d9d","304743d1d887","925794ca0f2c","388f5cfbbb7b","aca72a50f7dc","cd3ac833c0ac","d06e85fc3905","d772c170988b","c343ce8848ff","908a6a0d1bd5","3bb40e2dcb96","1000c92b4c8c","2898edc45c76","d4dc4fc8d3ff","c9e64be15aaf","9b13ff2dc33c","bb5fe56be122","71097085aff2","fb135ecbee18"," spoke of immense longing\n","d1cf39f5711c","a61e5f18e880","4ca9d195b512","d1043a4f3fd8","988c2ebaf108","c33f01034f45","ab1f3e0b3517","99a27b98218c","1e9116a72157","974b6f8f22a7","1520cae7cc6a","c7c60b5727b8","4cc69455278e","6a4fe0949ded","ad03142f0183","8398905f0107","4b1650cf414b","5fadff3ad63d","for the missing river.","d0f33b7a04bb","fcb329a95e4c","817ed68fa07a","8fc2136e74c1","33d458225aa5","3d599a7f75fa","3006e1a7322b","04d805b7b80e","00b73ee3535e","b59c3ad61d15","facd0e7939a1","288cad58c580","f74d98f3c496","  Many stories of multispecies yearning for ","0d0e5d238f171","meetha pani","0d0e5d238f172",".\n","726814be9f7a","4de438f43fbb","14a8f6f4283a","c1afd1b5170f","cd7b5e8f27d4","c0c5b9271aa9","9c5502f96541","c75eb9b302d8","5dda9ec28c0e","c64d0a8cfaad","e464672b69e3","23a6d9e34ecc","1b2c7ab00363","af5875228ce7","d3ccfb46c383","a711effef53d","03d956f4f326","b5521c21f5ea","2b7726cb2e8b","ceb0959fa358","992803f0cb56","92e44ccf1128","3268a639e192","0da43cf44dae","0250b5fa354b","4baa3ca98cf6","ac222b0a1773","9882bee1c488","803d1651166c","91d4535be18a","029a6ebf172d","5e88e79e3942","1fc3d63ae2ec","346d54b1d940","0e8387325637","06baf6b484d9","225f1d30fd20","b4092cf8ea25","83fa295bd682","f5121bc4a322","565ce8d8da22","8296b9f1255e","d6c05e14de4e","a8bd90ef7915"," sweet water","b393a2a121e8","237f008b5c5d","0018f730c96c","b65ff06d2901","f9c8cafdd170","44185b78c687","16e894543cfe","Fatima Majeed explains:\n","76138695f678","25799e92492f","8f24d8a65ec3","d8eb13c1d246","2970ad9be26e","Before we would proudly say we live in a land","2b5156268e5c","89642279d3cf","3f972ea8fac3"," where the river flows into the sea.","fe03e8d2da64","d028778f6a15","257803f8b023","ab0302f5e1fb","1f474f8d8888","43eced33a576","2deeb2bb232f","fa1edafea4ef","2dd18597aa67"," Now we say with regret we live in a land","2ff92cc104b3","4a5cb1c36aed","3218d576cefd","4d32f07b5420","f119900b3e6e","f2ef4f40d36d","2e9f849e2617","90a668ed754c","aeb413238159","11ca4edfe17e","18aaefeb47b8","9a92b6cbbaad","49238c4c0ffd","0f2314c3b7ad","where the sea flows into the river,","52036e858aea","e79a0bbf4e22","Sab kuch ulta pulta hai.","d3143c00bb3d","959c570d620a","a631d7c2d3db","528238ba59c3","5be57b1958f0","78f311fc6849","40c0fd7a778d","6e8ba22d31ee","cfa7086cdfc5","d23f7bf21224","984ca5fe6112","201fcbe5f233","90596485dea4","9dcf9f5c07f5","8021e8579c8e","Everything is upside down.","6dbbc52e780d","e2524e55be7c","e97f6a06c6b5","960f239e5431","caaf0e777306","f0ea053202e2","25ce4fac9c1e","248e2c6de4d1","4de0c5fd5e31","1979aa9ab8b5","6e339c1aa9d0","bacf59e50f02","a415a85b6e13","6bbcc4627836","2a5a078d87b70","⚑\n⚐\n","428002dde960","b7a789d71edf","79bb6b122963","78397ffedea8","e4ad52c59b2b","dba2bd2ac98b"," ⚑ ","564d737405f7","54f8b7456637","d18f103ad3ed","6215405018a3","d375e857e272","2ede3e461735"," ","54d81f922a0a1","the saint & the fish","ebdc0daf95ed","089a3f13da9d","188fbc577eab","d772a65ff947","01781724d83d","de04ab6ab5fa","22325f2e3a30","fc76ddf10d81","1e48be1c2ef2","42f9cd8aa28d","520c03635a02","4e821b75d0ff","8ffa8cd3e14d","09c4700b855f","881e9a62e1a8","0afd7f471365","5d33827698cf","7e86babdd495","25f9a2f5cf6d","b38e01277ae8","af66c2c1f16d","605ff1094b8d","64fb2d05b6ba","e76b59dff92f","9934b60dec6c","01c01e95c15a","1703fad9cf75","fcb2e2a51f43","e36b1e23ae62","2861b8545f98","eb0d2323d0d9","edf28134dbe5","d3bf5dc8d9bc","d5286eae734d","8e4572a753f0","f0198384fedb","23a6cf179498","a8c1d481aea1","8071d0e76c73","736fdf246dea","bd2837a1b4f6","39ee2e1183ee","c5083d04b325","85c759d58de1","c9a616553a3d","cdf199937cd2","6704dad43d0a","73be55f35b17","--  ","172781d19254","342beeeb433b","459367af179a","8a22c117fe32","aa8592e6e2de","ee3f74f8f77e","815fbc3476d2","819e4b7132f0","de001c324152","773430493ccb","57910234164c","c10c935ee219","11641ba3ab920","e06eed2e26e3","54e6522fada8","af790574b67d","e867fb749d07","8d27432a95f9","b00d391ef044","d235e4492182","506c5f3fdacb","fefeb9e79777","d5a813a33dbc","f302069403ae","4e69bf51162f","d580bc4d9139","45266abe61d3"," While the barraged and\n","8cd382c134a0","129bee44035f","6ab7ca8ad171","15e6953f3786","1a1a246e3802","1476d705d7a3","e4fd727e0a75","0eb3cd478ff8"," barricaded Indus river\n","7b8fc5ec61a4","b924c10ed56b","cac5e8249688","5af6fcb790db","e6f293291464","536a6e55ddfc","bc576ebe8ca7","687a352535cc","5daa43a423ed","3204e68789f2"," has long gone missing\n","2c2336561b67","487db7e65d57","476dfa73d615","954b4489bf39","e7713f354a13","05e8cc6c343d","8c3b82c45563","6f8fb697e009","98d5abc58bff","fe6da54e8c91","443eb6c19f6c","1c3755b79096"," in the delta,\n","f197a11016a2","7329a02db840","d0f9100c001a","461957f92353","a7634183fb3a","e53ac7b267f4"," stories of its aquatic intimacies\ncontinue to circulate.","82acd01e2e02","caba6f2c4748","01d5270bb35d","898dfb29bfb0","451207c0ace7","b23c1a8295c1","bbd8146dfccf","5b8c3f7a4ff8","b17a38a42ace","92b092f80149","a229358cea05","774e67bce5c0","bb79b1040e55","69a02482dcab","9a110aac489a","f31cc9c1885d"," It’s the khushboo of sweet water","deba9ebc5ecd1",",\n","72c4c52ecd57","26369c570a9b","4e12d278b6f3","1e22cc621db0","664b905e3475","6f1f611a8b66","282376836df2","e09c58be87d3"," Masi S
32afoori tells us\n","71af224b305c","6579e0d5c303","c5fc5eefe20e","6822cf7b7eba","1defc24317cd","8766d7b19ebb"," the palla can smell it","ee7b743cbd981","913f34bd8028","98d75959da98","When the palla fish would start appearing inside the creeks,\nfisherfolk would know that new water had arrived.","d975ed0ee5ac","ede135118429","c83f17a8da88","c5cffbfc2bbc","bd1c89e44154","3be6bea4cf36","d5f1ef474f9d","61b3d6ec6ceb","fe86b536fdb3","f736515bc36e","f9f05d3ff074"," This crossing of the palla from sea to river,\n","95bb01b69208","e959d7c3644c","133e1494a438","e3795dee009f","e9b011133acb","6e1a0927be16","f0dedd553f06","this flow of sweet water,\n","0bb403d10f82","6593a7bc8c1c","5e9ac8ee3f76","3ba996e63723","682021437423","992941577860","f43ea96d7f3b","2ac2a51d0ca1"," would mark the beginning of the new year.","ca80aa100675","921b3ad307b0","167775eaa91d","--\n--","8c398293a1a3","6d2ea6a4204c","9a948bc127300"," Now that the sweet water has disappeared, so has the palla.\n","7cf2483c7f32","c9c3bf13c279","21d2457e7988","17af51eb70f2","bf47ca362c50","ae950ea0b1cf","fa503165a672","e090ef025ec0","5c2a34c41daa0","Only when it rains","5c2a34c41daa1",", Masi tells us, ","5c2a34c41daa2","do they sometimes reappear.","52f70208f6f8","8f8af217f5d0","04b117bf3d61","868ece9046c0","6511360e8c0d","9c21f2987f6f","03052b0548f1","30d8b5009389","9f527ce91954","552c2ae1d6a0","6bb6f6130ea5","2c0fa4b3ae2c","302a946d9a4e","9e34512bf004","896c7d2dcbac0","Image Description: A close-up of battered wooden floorboards with three boats drawn in blue pen. The floorboards are weathered and worn—one of them is painted in chipped white paint. The boats are crudely drawn in unsteady lines, each one unique. A small motorboat sits above a sailboat, and to the left the hull of a larger ship is cut off by the frame. A piece of tattered cloth lies on the floor in the bottom left of the image, a string crossing over the bowsprit.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F762098788\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=e616a6346f56204d28ae1051c52c0cf01febcaa66ba280abd521751ff7fd00d7","24fff42beb91","5d0f9cde3e3d","15ce19552e66","e0186ff6f573","42e5fade7a01","e881e3822c59","15bcd5e8e048","29716007a7a6","7a2ed99ca196","f334165d7fcf","9ff9bebc271a","488ac1efdf22","c67bb71b6f45","96cfdecb9516","c3b590d37efc","e811ef6b547f","c77251e08edd","21487d873b0b","a6b6241d87f4","994f5cd45816","52175f8eb65e","1e270fdbabe0","ce1b71b5a294","47f60524507f","02e27398339f","d365075df8a6","4728bbc152b4","362b1081f2dc","384709b99441","149d0dbd0d4c"," ∽     Bukheiriro Pir            ","276dc3b868bc","00b8ab82b55f","dbf268b27fdb","dbedc6898db4","9136696b2623","d797fae8234a","2b04fb909702","a073bf9d4fc5","ec445a5f433a","3dc1890f32a6","1bc4fd6bd7a1","b23b786cc426","c6f06d78eb80","93a45a8971e5","0ea8687a8eaa","b7553dcc0b6b","b056b2a83783","41702506720a","732b6a544bfe","abf965e3ee12","8c676c9e3648","1131f3735425","90ce3143f51a","c357b737b26c","5330b5826286","1535a17014c3","e34aa6b8750f","a4b529d06982","1b6f67a63361","8f74f3d27273","29d7cb836de0","9f0372537069","87207408bfc2","e77c913a3678","cf9483398a4e","469e0f00c294","16a883fbab68","9f397d2f333c","dbb35ad1ee66","49d6de1513d6","2df1d31bad87","34643434a2a3","e560a287deb4","53d97912c7e5","ca0ebb1ba541","48b3431fb644","a14ccbee5b8b","d16e3289c894","ff6ab2fc0dc7","c83879333796","a7a0a6cb3656"," ∽                 Khizr Hayat        ∽","503f07555d08","42a049a22f31","5921a962ab13","26a3a76e48ef","d4bda0cc679b","48970d7a652b","648696e144a6","68397134dfe4","5b913ef512f4","9d9d8e985271","9230784c2a84","d413722d4433","13d7c4133b1d","93d914a5b225","e0235abf076d","942a8990cb07","569bd8f415cd"," ∽  Bukkur Pir                ∽","ad2c3e0da1bb","5f91db5bc42e","8e376e4d6796","a3e71e5c08f0","6e1c5a10f7bb","∽    Zinda Pir        ∽","36321151cb3e","8d2c9e881d8b","3a406641a24a","589d163e8d0c","dbe697e02d28","31b53a1dd112","58dfec20bdaf","55e4565e10b6","e3d13d99ed9f","17ca28c188b3","c996f37ce812","9c92c17931f0","14838db49d4a","97ce49ff4668","0c40625094be","b4f34c2ff358","6711212124f7","5612db0af12c","decf448bcae7","bd43d020e4c2","27fb15c56f8a","e641396060df","d7335798eef9","174d25e80195","4e6874abf923","efcfaaa155ee","ab099494bb56","af5f82e83419","d1dd52b1a2d0","e51ee4380fa2","9d88f833a040","f39d69248a94","e3d10439d4c8","554d2c1fe5e1","b44fd2aca399","eae4a4c39b71","4fbbe76b5f90","0943c67d531c","5ece8644e04c","269a7c29c0d7","8c772540daef","6e7fa4c84cad","0e2df9d692b4","12b86d126573","a39d16fe3d1a","654b7b9f8c01","798e9b3e9eb3","75fc95a303ed","c267721b3ece","04d49c16d57c","9f1764f363b40","∽\tUderolal           ∽","615188a00d3b","097ec4703818","c7105a1dbd8e","b370458e565e","6fabe68a3eb8","b94619d8583d","81ee2c8d6854","81e1d5921b06","a58406f934d8","9a8d5fdc3ce5","d8b24ec3530c","88456ad557da","A shrine\nin the middle of the Indus river","b238ea40de52","e9681e4fd166","for the living saint\nthe guardian of all water\ndepicted wearing a green robe\nstanding on a palla","0d54c8db956a","54efdaa08d6b","echoing Islamic and Hindu cosmologies\nwhere marine life\nform the foundation\nof our terrestrial worlds.","9693af4b17ce","f9b17eb020ae","6fc886ce81f3","ad86cb61027b","8187f6d3454a","4621780b93dc","31f51d681323","4759ec6af6fa","ba6449d6dbd2","d152700c7cca","6c456f14a487","0114e74ec548","fb6ac257c7b5","9ab4d96c2936","5f54809d6ca8","9616ac0e60a4","6c4b1652d35b","e82b1baa8b29","e3bbb5ca0117","e04759e71124","c3dd24400337","cfc2b6f6e487","6d772f482cb8","57620d62e8f7","94c8c6f34c83","f9175033fd72","ed698e9b694c"," The sea is full of signs.","f7be84bed0f0","45d277024929","9fc32d93f6fe","ab2e36727dd7","b4237bfd6b25","e82c65eb95fb","5071b0681245","2437d8ddbe8f","a9273a2e901d"," Sometimes at night,\n","e590837f649f","298eea4774a2","a595115409e0","d401a35bc48a","315ae1096ae4","bbe41d1925b6","d033a8857e81","477c8347a7c9"," it glows and shimmers.","96a059aa9575","079bab18dd55","10ff4a88e636","0e05596757e6","We are told that the glow, called ","37996ce787691","jhar ","37996ce787692","in Sindhi,\n","760d7ba8576a","c230ebd670da","98e3919a22d8","aea3038702a4","0466394eb7e3","60917dcb7d47","1a16ba0cb27a","3390cde523e6","4e0bb1acf436","7973b589e5c4","fa54b5717e2c","fa953195f973","b2b931da9ed8","37b0b15c7645","77d688b6ee85","89182e4fb0fa"," is a manifestation of Khizr Hayat.","94018c3ef57f","004b20b8a6ae","224acef7c978"," The silver reflection of fish scales:\n","3f70efb9df64","cfbf0037af56","43b9e6a3b418","03c491f98562","671feddeaabb","8569eff301ed","49fb590f0ce0","3e3347c6ad40","9761915bcc6d","c5a5f158d602","3d571e387cbb","8ba01ef4c757","d09ef53228c3","37c18572e82c","043e3b3e2b57","821e6e71ff19"," a testament to the sacred aliveness of water.","323076aca874","5
325d217f572ed","3977cefada54","73aed8e5a295","067e06b0b5d0","0054b6ec157f","be13f1daf7e4","8d2a53da9de7","c121452fa9ac","57f6f7ec31e7","d917072c4580","563b2106de5a0","6513b3401b37","03b8f0583b3d","d4a06921bc0b","90c4caece0f4"," A hand mashes a roti with sugar into two balls\n","d3a1bff2d6d9","f81c2d73429e","93672124d0bf","afa726699231","dba25db38568","f7c66ca52219","0a9efc565ba9","4e3b0b82ec3c"," and drops it into the water\n","2c92bb2759f5","539f4f7730d9","b02b1093480b","10b477f65109","b11b198b8db3","540050227f1b"," on one side of the boat,\nthen the other.","269e6e3b2dca","14ec86494d41","At the start of their journey,\n","17483de49ebb","b8054cdc419b","58bd352f3e6b","8cfd8c2a5272"," fisherfolk make an offering to Khizr Hayat\n","83537a72ae83","63760e18e657","c0e7a8cf6cc1","5530abddb644","5e757b8a27d1","21edc7094c7d","fff128146782","8aafbb13bb63","c92b040019e3","389b2dbb41f1","794c38aebe6d","996d5551ae3c","0c6db16e86a5","66d4177d486a","676d55b7d074","b486627dfea8"," by feeding fish in the sea.","16d482a05528","dccb6c7f1d5d","93de339cac5c","fd0044a83467","ffcc5dea489c","214341657b47","c150721bd873","7c9798c0fc15","9ede9df85177","863cfc81640c","1e761a30b2a7","6d403e431daa","7d6b06ade7f6","de8690305523","51388e230ce9","48f8d4ee3c6a","51f20ff8dbd0","2096108d6200","311be7787b28","9d6421c12b82","9ef16163d322","d496b445535b","b653be1ede8c","9565ca80d73e","d5fb41691e8f","e0a79ee80e18","Ye tohji amanat hai\n","669d4d73e8a1","80584e4d22d5","3dc5611b0c70","7d6ef0078b96","6daa66eea606","1a10642a4eb0","8a6d001401bd","0067778971d7","6c200a8ce195","a32e03dcc5bf","eca3e51d5d77","dac15d0d7037","49465e733df2","93d155b1ab01","9a914c12d3d5","639d81dc9234","a737636a7fe8","fab2c99173d6","f76c564801c2","757108a1a22b","4e3591f8e287","5ddabf47c09d","41658fa88882","537f88435454","fe3344f85ab6","f4742f5d78c6","286db6d632dc0","b67f5b0fa83b","db8282b247ad","a569dcaacbd8","f3e5c311cfcc","5ad04220e9c6","6d9afb70cdfd","a67a7dc21bbb","9154000f1d75","51a58f19c7a1","aa8d9474a1650","8ed5a9888615","98798b04126e","d13b773081c4","21bd63202bbc","abd1efb93f03","a44ed53c741f","2c6abbb590f6","8c6351e61f89","7b18685e663d","8982f8fa1e8a","b1933b31f73f","361bece4ceb0","6e787209ea29","d319ba81f161","a371585535bf","e8d660ccaffc","6aed706273d30","926b09a019dd","74a4b5adb2ab","638a1c9fe2f6","f6efaeaa3a23","b46c01302176","160e970191fa","ecfb79c88217","b6e30670791b","e2bef6120d42","e276dcf1fa17","6b1029c694ba","ef5a9387ba26","93e4f1d667f7","f29d2ac3c97d","42e92790d127","bc0e61a04c54","c71abbc1f9b6","32ff5def8d17","6b6cd6678b25","abce35da9550","97b69e841fbb","ce599f0e5700","0b7d22f7fcdc","c4fd09310f02","41fc138b6716","f5e622293a82","ed63ec104281","3ef84c42bed7","34b2e898ebe2","38e79e55ae34","4ddf946c8d69","11c3edf0c91e","b8b97e1ab657","ddc32ae26b8b","e3c727da53c2","75e3eeb19d78","80f1ea68983d","17356668d2d1","a3394aba2e9e","1593b4503111","848894739aae","fc600807af5b","96a5cd56dba8","7eb8be502517","7e677c19e095","ed3db7b2a19f","7b61376dc146","e695d4c29738","a5b8280cbe84","4c9038dd0085","92532b7e0777","d1c50f3f140d","5f04635bea6e","83d393b64b94","e73e28697755","8040ec4fb7921","the saint who was a shark","b73425ce5f44","2c29bce00c92","1667db323b43","4c7f52416b9a","7a14c0d405f8","a43eb5df6c74","aa8ad9a335a5","11f15050e97b","8189b32e6083","103873f439b5","1a137c37aa4c","da924ecddc1b","12d27fa1b550","7e76a756acb6","3666d8dd8668","52df2b1d93ba","c90ec8d373d4","383e26d777b7","a1cb5b792888","082bd669db74","2718e751f9f2","2712c64f4823","96bb76b041d8","6d3aa5b4cedc","768c337123cb","f0132fc91f3f","28e5835ea8c3","d54ff9864653","5f430ddb3fdc","f92a5ef70faf","8f069b088cec","3b90f500a6b60","We flow back down to Mul creek,\n","2c9edc70bb09","89a4a6712885","7bfcf66c353c","23d5c68a0daa"," one of the many once-active branches of the Indus river.","0b928416464f","efd2d6bfeee4","bffd650c0628","591424c4b442","7f1b71e2c671","c9806965acea","66ae2431bb2e","37c4cca8e635","01659f03f235","61867749e7f4","868becaea91f","d7dd09932350","c3aa7f3d3111","f3a1591a34de","0d0bb64ea105"," Far East.\n","6fe98796bcb1","ddc61b458553","3bb1bd9b30f8","e8362009f132","0002cf0c59cd","5c16987ba0c1","d6352aa8b001","357739def47c","47c181a56a8c","94e38683487d"," Far East,","2b6ca87ed68b","051551b4d704","7e5a43a0e2f7","c0a035bf1044","caac5ad14194","e50898cdce25","4b76411d4cbe","653a5f38c096","20fb9d163e50","f91ebd548c86","5bcd85e826ac","5d0451feb622","025b7a166dea","7ef2cc5577f4","8e518a519cbc","97fa1fba4dc8","247f44c5d1c8","e29d3e0b2ce0","644a4f0c9d53"," almost to the border\n","f308ec25fdab","5cdab6d16ee2","df26d2ab216e","19ff92fc8fe1","369b0ed8f64f","0c172ed28740","c121ff9046e4","5f52575caaa7","bdb7e7b33662","21dfc54efac8","882188b56a58","20381422fa81"," between","e970ac08c528","d77b412026c9","ec30a341431c","5dd324ff4f4a","8786e2f41712","df4b114035a6","b61cf72c3a80","974821ac5c99","fd6d92f1e7fa","f347df6e1d7c","7cac0a5ccbf2","e
3266eb04a5047","4e89e795bdcc","c6bba1e8c97c","903d7336aaa8","bd1e2790d40d","5b865fd427e8","9c628013d5ae","f19cf007d85b","bc78e9e5bd65","6507e469a2de","1647617be206","5b269635177e"," India","44b42f0ba99c","ddfc2be4ee29","19463ac8e023","dc4a63fbcd5f","9a0b0dd9e28d","872cb864234b","a534a38af04e","7b1685bb6823","8bbe7a341981","bfe5cf1b544d","8a2bacad81c3","875127002724","68ed2aa44863","1fcbc6c41dc4","4b0947cbc0f3","0a237bec6178","94ed7e4c837a","d6b69cfde342","3d3d08d64e27","c6a23857d5ba","ae6009f9e2e6","79866ea642ac","4b7c9f752c55","0d93cfe0fbbc","1091fff9beaf","e3cc9845e174","0278f96d8400","Pakistan.","490dac35254c","db4b5131a3ad","30d0edfa0d46","ada0c942f293","bd1617d05555","4d3a07874691","7b4fddeee5d5","d0c980c5acbc","0101e9a084b2","38dd031cadb6","cf00b1ebcf89","1d113e71cb65","d306bd149241","0239a5d3dd20","2208e84452b3"," Back to the delta,","5205efd2905d","15d23c17d9f3","07302f638d9f","946d3774d52a","67a4d2d1cde2","7834cd8b0d1f","684b8905f336","8e3e7ac88000","5097bc0dcefe","bbf976027d42","8c2425df4d12"," back to the junction","36c3ef960a5c","5711908abaf2","850c257e223c","423e1af378ea","16e9462f284e","9d4b8797a472","d543d6aa7f04","4f38ba08735f","597bfd0163bd","e86008390ae5","bb099a159cdc","624ba2bbaeb5","874adce4be45","1983f6c2910e","4403a0bac35f"," where land meets sea,\n","0fd09f95be8c","81aa1dca0e50","8ca258cae8d7","00d3894ef6c5","fc9868c6730d","8272b9141021","b3b554433e44","0acba30a7709","c1b3729db1c5","d11603b1a7d1","5abbeeb524d8","d41e87c94a1a","0397a0759410","82e771be1a4a","10108f4e411e","1a0a015c4c48","  where sea once met river.","7cd1dcfe303b","32c06ee7a530","be6cafdfea69","d85a5275ad91","bed11c3e1d4f","a7db7b50d6d0","4c47caeac017","6b936a4a99c6","c13a7b93c79a","Mul creek like all creeks of the delta used to be inhabited, abundant.\n","458745cd781c","06a7a9bb7ad3"," The shrine of Dada Sanvlo was surrounded by villages.\nThe land extended far into what is now the sea.\n","c3e0b1dd6207","947a709b853c","73e7975fd8d2","1086d329df48","e08a402bc1ab","2e5dbda7e92e","c0178bc83580","6b5c49e0e0e7","0d3e32fb3bc3","8a50b9d6e8ba","9ac9ee291ca4","e79dd3c332d0","f6aaa65dc886","3c34a60237b9","732769feaa80","6b9e35f2b94a"," All the traces of settlements have gone","7d73af52003d","837b9f9cf712","c25390f69b68"," only the shrine remains.","b7aa3ee4518c","ae98463ec620","23765e4852b9","76d40a10603b","b71db83cf83a","62361df24f25","d41b93f68b51","1470abd5c3e1","14f565ac0064","6507d2780e1b","A saint that sustains and cares for both\n","b72655505b2f","bbde29b941a8","7b53185254b1","ef9f3ddda032","61bda094eff9","f66f8a8bde03","853a963935f2","034d33d90f94","73ee735c473c","2535ea9c843c","marine and human worlds,\n","5035a7795ec5","64207090bb6c","a3a35ae98932","5beaa83abf9d","2d2412e6dcb8","cec18e435a1d","ea2635b61a8d","e9a3ddf8c763","048e55d9b81e","065ecaf0b026","ae051e79b34f","e78d870019dd","332cd310084d","79074db2cb2f","blessing fisherfolk with fish,\n","f05df3e84ee3","202455c14e87","1bbca2d1ff3a","d9d79a8f6714","00c8048c1b28","d2fc9c8dedb8","84ef7a6b6037","84f37f59d96c"," blessing fish with offspring.","07c8e17f5549","0c303c02f493","7b32bc6ddeb8","82868e9ae66a","6193c0ad47c8"," Here,\n","d77877c75007","f3663ad132d8","ff30bc093c5c","47e35bbeff2a","3f6f01be3812","83dd136bedab"," navigation and fishing\n","e918111548d0","f9cf97d659ed","d0d4c14711dc","82f0d19bdb41","b30b65339add","6a19e72b7edc","ebd5a7068efb","c061ccd5efba","68157540511b","1362110e6bb5","are not cold extractive practices\n","658e9e55a0c6","4cb82d90ccf5","f65b795049b4","33fe166ce32b","6553663b4f1a","11b4ac663974","cb072c2c6dde","084c7e83face"," but linked to the senses, nature, rituals, prayers, \n","0d386821238c","25f78e5ea4b5"," dreams and visions.","ad23f8fbe399","e8b0a69fc0ef","43f445ababc6","08e2bd548587","890d08677921","3efb4b37b9ba","54e15ea1f614","8455813a15b6","67e5dd43d78c","image-319eb4e2d05d3c5a7ce0ae8009bf6f789449208f-5120x2880-png","c851c2c1afbc","37795275a4b40","Image Description: An altar created using painted wooden logs frames the foreground of the image. The ground is covered in brown sand. There are people standing in the distance walking away from the altar, towards the infinite blue sky.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F762100539\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=c49996413fe327b63031e0989fcec9c675747408f0eaeee059da8fdc15eb9d08","b050f40a3aa4","af60b0cebe8f","f7d837c56027","e2a34eb31d7e","3f577cec1985","4a6745a341c3","ab4a625fb6d5","591b50863fd1","32ce9b750d8e","fd6dbb2015f4","6b3080e0e074","4129dadf2eba"," Dad
32a Sanvlo's genealogy\nis a site of queer crossings.","c6922138ed10","3874fa4019d4","bf08604c198c","ccbfc5030f49","cf0b03feea63","611b9f317e15","39769a17e0e6","cb0b83744281","84902444cb3c"," Some stories place him\n","0ccf6fad4ca4","2fd033e8ad7a","25f715b70d9a","f5ab2873dce5","830130d23def","3f67bc875cce","907a14527ef5","910329a3f5da","80f734834480","0f6ee0b39313","a3660dc054f4","84c08a43a2d6","a4ed4ad1d75e","27b2c1819013","as the hidden son of Shah Abdul Latif Bhittai\n","9cabecccf419","aebdb1e8d518","1045d8ed440f","ce28a0398996","a1218acf4561","71f663ea3618","908ede158aee","5750affd0f62","a5abc873f167","80d62788c146","d30599207eb7","663559eafb23","1a5f65a06145","022d82a5f62d","5292ace67b9d","d26f543b54cd","  —a renowned eighteenth-century Sindhi sufi saint.","9e99b5e933bd","db5ffd97bc22","15e406c21458","f3e6bfa65ba5","eb7853d15674","34db38754cec","aaac84fa1405"," Other stories circulate of how his grandmother\n","7f3300d7d178","44cdfce0a7ad","d1e32f6bf004","70e1ca01ff76"," miraculously conceived her baby\n","cabfd7239882","9fdd5f871fb9","f6278d3b3e3e","ab903735d96a","118132b19be0","88d33fe9337f","391b9bd79ad7","5e2e9f443a30","ba30c79de713","36ddbdd319ac","d48bb7142e64","8397849dce8b","1621107641fb","eb549a1f1132","a3700c4900d4","d87111cb3f2b","after crossing over the tail of a whale-shark\n","ac2dde4e1038","9cb1bb3f9fa4","b1cdce5a3f90","18f0c1334807","9824abd271eb","7f8b5e4c9569","2410953c8651","10806a49421d","e3f4da47dfd1","43b1f5d12bc2","fcd51e5e9de7","b402badbe815","cba0ee11ad98","702a77e034eb","480183bcf3cd","8774409afe15","248f7290e857","9793e4a5f0eb","516984840efc","e3556cd9aaa1","916bff33b3d0","1171da4a3b8f","that had washed ashore.","739930eceef6","60400d86d990","e4851cf3e94d0","d56c20f26586","d161a9cf5394","25748a4c0a32","e717f676234a","26ad483bd5aa","5440338fe20f","07d80dbd3889","fc8925b1473f","In the militarized terrain of Mul creek,\n","6456c77e1515","6b8a41529cb1","67477f5ade9c","0ce357b90720","fcce54ff786d","4d42996699ee","07a27b569494","e249937898b6","86a3975a47a3","e89aa9312bbc","Dada Sanvlo unsettles borders","e0f8bdff8333","0d401bbf4181","971212b2be22","ce32439ea45d","5d1f415effff","0cf8afed5c20","ec8282e460fe","487977fa50c4","af3b5a808780"," between nation-states\n","f56ece0962cf","dab7e2c73ebd","86260abd9b96","26d36fc962ee","98080689ce81","e545bc406c0c","2370fdd92aab","483769a211e7","b9d707bc78bd","35613486cffe","956925522f00","f4308086562b","628b5290e9b8","b1becf11c5b9","83f5a8dc5145","3300fa1b3711"," between the living and dead","5c1ef771c071","4807f1a5d916","81802daad7f4","20c9b5ca7ce6","29be0882c718","a11a1b636ab4","130915800bf8","6c4c63df0fe2","81aee894f6af"," between human\n","db28531b28e3","4fd872135868","00170ac3fb5a","f1a5e5975ce7","c6194121f16d","5485527bbd91","493c807e0d96","bc14f7009994","09d425591821","1ca4f01d6e64","4d4fb96b8a43","6863083226b6","82a14e0b65eb","af0c2ef6ee86","f011f46d1c99","be0f7fed8bac","  and more-than-human worlds.","20d38b43b18d","963085cb45ef","5a3ceb0f1e83","ba9509dfda99","c9ba41c41b4b","23b6309849b8","36503cb468aa","11ee2be3aebb","8f1fef3fd85e","d4ab7843e9cf","268e8352681e","0ea47401b603","1e9d28504b27","311cc027b963","252b792c7527","c6a1b4fdb801","3aae33e29fbd2","8373ca3dea93","5c6a18dcad99","4dadec0ce680","06260d8cc208","c7910f742098","Conversations (in order of appearance):","9be40c89d488","b0aef74f4cf4","Majeed Motani, Fatima Majeed, Nawaz Ali Dablo, Masi Safoori, Masi Kulsoom, Safia Dablo, Ibo Wado, Nazir Ahmed Mirani, Ali","97bedfafaae0","3afb53167348","Image and sound recording:","2163918c2caf","316d0c9690e1","bbdcdc4e0f72","fc6f57c07465","Editing: Jeanne Penjan Lassus & Shahana Rajani","394c661a5a95","3219f2fffd4c","Sound mix: Sound Studio Pioch","a66897f88d07","539cd647246c","24a675705bf4","54c925fc2cce","Research support from Alserkal Arts Foundation Research Grant. \n\nThis work emerges from our research project ","d6a25859e2d8","Embodied Cartographies and Visual Entanglements in the Delta","bd86bcdd8f8b",". It draws on two years of field work conducted in the Indus Delta, with the help of our research guides Nawaz Dablo and Fatima Majeed, who are both activists and community organizers working to protect water ecologies of the Indus Delta. \n\nA special thanks to Saira Dablo, Safia Dablo, Aqlima, Gulbano, Husna chachi and Masi Kulsoom for their guidance and company on many journeys across the delta.","3f793079fbcd","486a8c9616a3","cc88485db7b8","ac8f43aa459e","7ef457553451","6631fbf41da6","3894f6bb0d5b","9d82dadf9adb","aece8a275867","(Multilanguage; 3–10 minutes, each)","a5b85d7e9051","1d5884a8667b","656b50e9d276","58ab6fe95264","0a67eb935875","a2b731b4fe0
32d","8c539c088e9e","1d19ca8d79d1","3353769d04da","f18d76b82f76","c83aa04cae42","e519e9407a1b","2db3bd412326","f0efbd5f2be5","e8ebdb89547c","6040390d81ae","c74879937a04","af08359578ce","704d1b1a3788","35c9c92c17c7","a729aa2faa38","f29cd7a6-46f3-44ab-9a6d-635d72c868e2","9c3a946a3ff9","the-sea-in-the-river","2022-10-24T03:29:54Z","d2e9231143d65f746753d8051276a230a38a643d","#fcfcf8",34.15,"T-Rex in Town","2022-07-23T13:50:40Z","image-c31bf417aea64d5a1f61979f4f00c33a02d4f72f-4209x2976-jpg","c31bf417aea64d5a1f61979f4f00c33a02d4f72f","#8d717b",2.64,"2023-08-23T18:29:47Z","b04292d82a152761b383e2470b00c38c840b2071","#601d13",.92,"The Rebel Body (2019) ","follows the murder of Anna Göldi (1782), the last person to be legally executed for witchcraft in Europe, and tracks her final route through the town of Glarus, Switzerland. In 2007, nearly three centuries after her death, the Swiss parliament acknowledged Göldi's case as a “miscarriage of justice” and exonerated her of criminal charges. The two filmmakers search for Göldi's presence, and record the varying ways that town residents recount her story today. Rather than presenting a chronological narrative of Göldi’s life, they collage varying and often divergent points of view together, employing gossip as a narrative device that can account for contradiction and fragmentation in the collective memory of the event. As they travel through the different layers of the region—from mountain tops to underground caves—they search for scars in the landscape and imagine how place might manifest an absence. Inserting their own bodies into this site, they attempt to physically carry her story through space and, in so doing ask, how the story of Göldi’s persecution haunts the present moment?","5511d2a7-8559-4ff4-b9db-7159cba94d5b","50437b84-d41d-4b6a-afc8-1734df7ca5c2","anorak","f3f8a69f-43b8-46b4-b400-9f35fb68aa25"," and ","850b9e70-466a-48b5-ae82-23088d14206e","Emilia Beatriz","57515bdb-91cb-4bd7-93ad-f1669bd385e9","d42a0b62-bbb9-4d03-bd30-39078688e885","f66575f3-12b6-4006-8578-e1c5f5bd8d9a","7b19d4c4-59ac-4591-b3ce-9da04339602d","Sarah Keenan","71593c9c-1eeb-4120-918b-d512c08da84c","Zoe Todd",", 2020."," Donkey","Die antike Tierwelt","The Golden Ass","Winnie-the-Pooh and a Day for Eeyore","6eca9faa3de8","7a5574db8268","Black Sun: Depression and Melancholy","Schwarze Sonne. Depression und Melancholie","Unio Mystica","Endnotes",", zuletzt abgerufen am 08.05.2021.","(English; 1 hour)","4581c643-de29-40cb-a59f-ce9b32e357ab","e5c8986d-8cbf-4592-b8ee-a4122be0960c","A close up of the head and neck of a brown donkey with large eyes and a calm expression. Two white gloved hands stroke the face and neck of the donkey, one hand coming from each side of the frame. Only the arms of the figures are shown, each one dressed in black so that they seem to recede into the dark background of the barn, the hands appearing disembodied. The barn floor is made of dirt and littered with straw. The background is dark and fades to almost black.","dad5ee62-0abc-43bd-a069-ef7ae1139113","4dc13205-c790-4ded-b425-887f3d07de5f","jtDBlcq4pMGPmfdUx2bdYc","VDF=dE~p01Mz-;~mwa014:R+4p?G_2WFWA00NG~VNJM|",1.5,2700,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAYCBAX\u002FxAAiEAACAgEEAgMBAAAAAAAAAAABAgMEAAUGESEHMRITFKH\u002FxAAWAQEBAQAAAAAAAAAAAAAAAAAEAgX\u002FxAAbEQACAgMBAAAAAAAAAAAAAAAAAQIDERJhgf\u002FaAAwDAQACEQMRAD8AreH7dGa08N2EKB0Vk6Ob\u002FlDZ21blR7Va3DUtAc9MO8U\u002FIWiJp2sffVndHli+bEDjk4mfikpo1ua1JZf2Fk9D+5mSq1eUxsE7PBWt6ZNHYkRI2kUHgMB0cMhqG4tQe25WQIB0Ao6wxCU8EPTp\u002F9k=","#2c1c04","#ccc4a3",.5,"#ded3a9",7.12,"#927e56",7.2,"#c1ac64",.02,"Bite-and-Hold-Web-Still.jpeg","images\u002Fhh000x49\u002Fproduction\u002F9b993349e75f5391ca83f1e5d418c6f0a24dbb67-2700x1800.jpg",1775836,"weoWxsm8FbnUx07BZmsK5VH05xGJgsgT","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F9b993349e75f5391ca83f1e5d418c6f0a24dbb67-2700x1800.jpg","2022-07-23T11:54:28Z","487c5fb7-0bea-45ea-b745-d8822f9cdf9c","U6xBk00tKpbFWHZN5gi5zQ","2022-11-27T23:48:28Z","a9f7d153b5f5","466fb6c70ef6","Donika Kelly: ","8695b9fc70ce","A Problem of Knowlege","a1f4f20f3201","99ab7638758d","020f47cf82c0","file-7fe07a4f47bcff423dbe1be0b477f5e71bdefae4-pdf","Before Law—Donika Kelly: A Problem of Knowledge","image-7fc88a4ed1fe8fc27116cf612f9b4f56ff95a4c9-928x761-png","gRGoUIxCh2CGKUqx0vx9uF","e6SigL%M-:-;of01WB-:WBt74oay%Mayj[Rkof%LofWB~poft7j[Rj",1.2194480946123523,761,928,"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAQCAYAAAAWGF8bAAAACXBIWXMAAAsTAAALEwEAmpwYAAABcklEQVQ4jbWS626DMAyFef8nnFoKCZe2dIRLCHewJztNyzSmaVP349MhbnxqO\u002FamqYVl6WBZemaeOzCmgMslgiA4QBgeIIoCkNIHIY6PmFJXmOcW1pXyOlbCGwYNbVuC1grqOoeqeoc8v7BhkoRMmkpIU8HQOY5DuN1Svqt1zrltW8E0GWtIBlEUIBHHAUp5Qil9ViF8FOLI5zgOGfubPScJIVCpK46jQW8cG8iyBHz\u002FjRIflWwrkvIEcRzA+RwxVCFxPrvKJRRFZiukGVKrWZbQv0DTFGhMiW1bshpTYNMopLiL2TvuXHBsGDSua48eDZRMh6GhkmnQuCzdF+b5qe57G1\u002FXHgEGawgwELjRP+M5Q8QREUenvwacIe3OKwzxjkcvc19MmgXPcDujvTnu07N6VZXzUtKjdF0Fda2QcK9NSmitGLsB1Sc192+659HKbA0paWvoTLW2ppT4naEx5V7LP7X2bG+35fXVj\u002FKve\u002FgKww\u002FDUdU61\u002FlQhgAAAABJRU5ErkJggg==","#45463e","#c3c4bc",.17,"#bfc0b8","#83847c",.13,"#858777","A problem of knowledge_DonikaKelly.png","images\u002Fhh000x49\u002Fproduction\u002F7fc88a4ed1fe8fc27116cf612f9b4f56ff95a4c9-928x761.png",95785,"zsVnBoPA6v15fJgmYbY7gDixbTtyJJtZ","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F7fc88a4ed1fe8fc27116cf612f9b4f56ff95a4c9-928x761.png","fdce0e431341","c6b5b70c7f5d","cc08a0261ea70","A Problem of Knowledge ","cc08a0261ea71","responds to the 1818 New York state court case Maurice v. Judd. At the center of the case was a dispute over the categorization of an uninspected cask of whale oil. At the time, fish oil was taxed under New York State law and required an inspection stamp, but the plaintiff’s cask bore none. Instead of paying the fine, he claimed whales were not fish and so their oil was not fish oil.","b33ad3e290d1","654b6372175a","I foun
32d myself compelled by the claim that a whale is a fish even though I know better. What’s more, I found myself wondering how much it matters that we get the category right when the whale population was decimated by hunting and commerce.","28c199e1bfb8","—Donika Kelly","d806c83453a0","a9d1c7db80bd0","83165a59a0a8","5afd560cf7d4","48fcd4158bc0","file-143c47748700e10b77d5560f83e14f29e97353c6-m4a","dce950a35a2f","b532b0389390","Donika Kelly reading ","3141a84da2a7","A Problem of Knowlege,","62c56e501fca"," 2022.","f0af0376a894","272f601887c6","6d5b3dbc8c39","4f0009a5891f","c1ac5d099813","d47ec3275597","c1b934e683bf","c8ae5066d570","29a5db044375","c8800448feac","a63d719e3d68","0f5c6799e798","2085dfbc5fc0","4f95f51c49e3","64bc648c2de6","0113d1fee6f1","d315de3cdc90","8760959cd9cb","a46f2cd56e39","710a1aae48fa","ef3df49af56b","ad9d86494b0d","5482a1b73e79","06b4b74d93fe0","A Problem of Knowledge\n","0b5899d5a896","fdfbbdb203ca","9548fcbe37bb","126ab6585b35","aeec2c2e33e8","078a02436199","d80bea0e2d8b","03ec40553de3","982b3f38bd2a","c92b22dfa9e5","b6ded77a2a52","615a27c33ea8","997be005263d","1137c69f3cf9","8c5fb1b2071b","e7c9e3c8259b","89565c5811a2","53a5c7b21a0e","416f396f8396","62c139ebd891","8be35a3ad502","859538c9f59b","a591063528a8","a2821fdca1fb","de1313579790","89fd64cf3df5","Maurice v Judd","a1ddc3b3c0cd",", 1818","e925008e6f08","086521799ec0","4bac5e45ca82","c80a7a1f4fcb","f47d97569b07","ba94eb70e5a1","6baa00f474df","7b07ffee7e31","446322548d4d","975497640dab","8aedcbdadd29","f617757c1a01","783471161756","ad2944ebafbe","26f98df2b3a7","36d2a4a48f73","4a922743d082","b6c7e25084a6","201e485e7de2","8c2f61dab357","789536e56cba","3d429a8f7f39","35794b35888a","Which began with oil in the cask.","5ac34af4cdca","fb796fe0d9c4","146cecb4a624","e3507eccb2fd","591ae26bc413","18124342f380","deaf5d21a988","e5742c830cf8","2d3f9e2e1812","3e84dd72167f","fc2d5dbfec21","f8bed6275365","953cdb362e3e","52b1f637fc9b","bc126aac5d6d","1dec9e3df0d9","afc72375da95","4578fb1b2c80","3d10568fce42","c11c46081eb7","703715c20f6a","Which begat the proposition:","a10a9571ff1e","bc335ea80ab5","7816678cad59","80c92b3cba57","5baed83ef087","b037ccd31098","a489d35e033a","23143607aa82","674e1a65ceb9","1a2d047e7f14","a1a74e8d7405","914778e945cf","5a18198a0023","c9da40022398","ce582e67b104","1104d1a04045","db74e53e9f89","9b417949def0","586779fad7fa","4738ba013b6a","97d7ef94e967","the whale is not a fish","183b087a17c0","ad73e2f7f2a8","ed28102fcc8a","c0bece094946","ea3231888cc5","cba4b418f286","54abade89323","1c6372daea59","d55322bc9eab","3e4c8bf69757","287f81532f6d","0c2048b7356d","d4ba47df8967","813f0441653f","062c3d96d09a","1ba2e90e8c4a","60823e4ee18f","2cd446569c18","745ac4532614","da7d4c4a8dbd","796270718ac4","a6d75caa2a42","5eafb1174079","and thus its oil not fish oil","75d296fc3071","28dfaf966c36","ea9a638a266c","08eee1878049","f86432e8367f","2fee0566a0cd","24254f1a7d10","5546727cdeb8","e86256cbf083","b986861fc427","4bba0cac2ed7","f899202adec3","f37147b06851","e72ed8913e3f","cef1641af622","7b650cf76942","aea7a1c30f43","5f0b8e9e3c1a","cdbceb3eb46b","4832118df2ed","2605dce20d50","04ad67d3e0cf","5553e7bd2831","342aaa9c9711","66f6f6a39116","and thus requires no inspection","8641c5fc6f43","ba5380726a88","a03917fbcd95","3a07a7ba29cf","904900ba8c9e","6e12cbd90776","33fece818256","e91d3e1a5787","4f4c69d4de99","8816aa3bb6ab","5a630d4ee1d5","d5728b2174c6","78e4034a08b0","f81f87de0c0a","1993083c5bd5","97c7b3cef3a1","e07d7d9328b5","de6252c4e9d3","078622130a5e","431d374c0386","67cfa43eb8bb","d79e633cbeac","86381e780261","2046253f540a","2d9faf2a06ad","36404be45cd3","485204c41ef6","and thus requires no stamp","05b45702af91","319c927b5cd3","2651ba568dfa","964718dd97ed","6a7f9989217d","80ef568a3a54","ce459281dcd5","d29d30a9ae8f","16e4a8cfdeb0","fc543217858e","5b64420ce82f","0217ca7614c6","cb9f2bd0de2a","d907632e156d","97774ced8530","9d30d5e67e2c","00023c3a361f","6df1bc8ee355","df111472a88b","6f5514965246","536c7f481186","774fa96d6541","f1b51953ab04","4fc777acf6ba","d9c9d03deb64","2e68c879677c","c8adb69ed448","e9525fe976e7","7642b2ad7474","and thus the fine","ffc074a9a3f6","ac4f81ebfecc","2dec907dce0c","4095658f7eb5","a242583e4e75","9cbe3f8f3925","b693f7a74ce8","29f141bcd456","c6a5fad41886","3c754d453183","dc44add85986","3b5d9d0b45c7","8bb49b61dd03","829084bd428
326","1837bcd146ef","8459f5c25103","e71d807e3d46","f6d439f98c02","56b14b635c41","1665e174b703","3588f117b89b","ad695c576c2c","85a77bc475c3","1f201ff12a98","2f6c4e854aa4","ede0944dc9ee","5a89a63a3197","e28c4590293f","68c579a8a202","d8b8f79a97c1","3bcef9d62bdc","eb273bf62c0f","d6addfba8327","7e6137079f51","28f0364096b2","5c57a83beeaa","6c377bc8b3ee","258e1fcad9f3","249fd88ba54d","7aaf5ce1d179","007af41c5799","should go unpaid.","9f83dc2a37d8","d89edb07c33c","6ae4c635441a0","98e7bf350111","9b658cc7088a","63717d807e8d","633836d86c5f","d265d63c67ef","f5f1c34e1a5a","afacfe4427cd","51f76a48210a","6a675e6ac3ec","c967c70805ca","984edce1ce03","dc9031315f42","742e80436135","a935f45ea40c","70af4e40ca28","220704de1562","d000cd3b55f9","68ffaddd9a42","b3d4e433b003","f3d76e485486","The proposition an affront","5b281b1cb0cd","0186c21a3d87","66e9056955ed","5e7a2abb4102","02cf5db059ea","f73ed617280a","3f0e01779d49","d071ca46e0f5","5617349d7e8c","d68782c4755c","55c3dc21db08","43b85d93fc3b","8bcde98ac41c","53349ec7bb45","7ad6b0689d37","15a4b5758a51","11c576d1adf6","38bdb36b4473","5c14d9fa172c","a86e7db7c3bf","77350d6f7aeb","to the commonest sense: the whale","858a79ea11e4","13c3a0364c62","8631c57cc034","7946fc0026d1","450aeb6046ab","57679674c4e9","03c91cfb4a7e","38a5706b9cd5","b461f7e964cb","0d0fcb0fc782","91803c80f85c","26792eb7c193","03670fc5b5c3","2009c616be16","f8d03a8c0755","f46f2594b53a","97557c065fe8","359b068efeaa","437fc902f4fc","a336666c1909","919658bdebc5","a fish in the three empires of nature,","4e2a96520eee","2d477878bf2f","0e111db292ac","b051346543ed","8f38363206d9","9ca323877d50","7e3b4b2e6b0a","7fc8893a1889","c53894a311d6","367fe525ae82","f7ec9fd65ede","c9ead1e91cad","f067896d3619","0f9ac86605fc","be7012712012","7c6724e87f2e","0e336b68d18a","dcb7bc28b64c","33e31bb47302","30c2825b3531","691b512d6c13","936b01f9df2b","924ddeffeea2","c9e7c80fa2a2","cf4572587370","8c2b558e84f2","098ba066dc6c"," just as a bat is a bird","0ad4319cba85","61f811ce3e6e","0d7ce083eced","869ead70682f","81123e0d1b1d","e0c1d9cd850b","29d3b1541cbf","c82451628365","5da37695fa20","46518ecec3b4","a58a4f168bca","1a3ecb36065f","2bffc6ce4472","29a5a19275c8","412fb2f392ea","405f7408840b","30e7bea334a5","c6fdd5cb37b8","99521007a555","b5f7dabd3890","bd958635ea4b","1eb24ab097ef","1523ddffbfdf","abd401790cd2","b46709196064","as a barnacle goose is a fish","4b704874fac2","9fb0918094a3","864c28aabde2","3c712528ab25","e7657c4c7580","8596b4cc9fe2","ea29dc2a337e","bb6d9ab69494","961171242c8a","775cb0ee7116","f35fdea6ff57","56a83ae5b84e","cef43ada5192","e022738d3b3d","6a66f6f23a8c","7356ab19d118","02a938f2b8a7","d95eaffb0e82","1ec8f61fe4f7","d2f31746fae6","47646254e50c","329e2c72a55e","2202f7d77437","as a ship at sea is a fish.","288a9dc66937","be28086ababb","bf1875589ad6","86ed1cc80401","21d30835cd7d","9ae2ce1bdafb","5c1c077ecd81","76182b63aef2","3190379a4ea9","16ef708b49f0","b16b59eb2f41","5fc76302eb38","ed7474fb1780","0bc6ee1143fe","b96390ccd7a3","c28090fd3069","de7033edf43a","f0bad22640b1","cb62e53a27c0","fd0d86ba8c33","a3728657d836","Common knowledge.","c3fcdc43ea06","fdfb3fcebd5c","aa6c86e37748","8328cd4df23b","5122f6eb8bab","22a3399a818b","77067adbed3b","f2d8dcd44c34","112dddee7b00","18084e432c8a","41bc947b86f7","8e9c6ed1df4c","1e61ff00e16a","9287c0a72981","6aabff059075","2543dbdd63fa","a394663b1c36","93d03a116306","0820366700b4","038f05288b1d","6eb3d3a73e46","The whale a fish in the empire","510d26378d62","2db9b1739698","e6e8c7cf789b","26e7aa737e22","a87573ae4ef1","c34ffc49225c","1f59134628e7","131abbe9c292","462f73df0d39","93198dc71b56","4973569fd202","83bc6223ea54","3eb28f59285a","af4d887d7b22","c19096d622a8","71f8bd4777bf","0c33a4ccaeba","e65872dac6b0","c3b9df57f8f8","b63c7ebee134","42ea7cfd9200","of the commonest mind,","08eace37b0ee","c1864b4ce9d6","b63d5f536488","0c442c358572","7954d627ef56","c7e35439ff9e","2c4ec6b7bb19","9c24cdc4270e","c2fbaa01875f","711ed8eed2cf","3f692b3a7b4e","12c150fe180f","39940ec00b80","fb44dc05085d","12bfe2f8f3c5","995f30146472","59b2265e8003","a77271298f5a","ed2d91e91fe0","da574b7592aa","96ddcf748b5a","12139c8ad4cc","6598e365121e","58327c9a808b","5586b66e61d5","7303469a86a7","e33f2fddc6af","(though be-lunged, warm blooded,","c75f16790695","90fb36513371","a5f52ee50a6f0","80f636f8950c","e26f6dfc1634","ef4501902df6","e0145cf12d66","6fb56df5fadc","8c0f003b44c2","76437c1be84d","3d3ea82b038e","1b4e3b984e87","65e1d857b03a","2c800d8b8ee9","031bdab8f4e0","84c3e7825430","b5cb11e9e14a","902c5a35959b","e85e69d559cc","29b7778aad89","bdd5ed061c97","6d7251c35961","47faa368e0b8","6c03cc6317bc","8dc6c137e054","the calf at the breast, the tail","cae19cd795fa","44aac1ff7f00","d030ea0909ef0","2b3bf4c7c665","7ff195b86b34","ab7a753a78f4","44b3f7a0e3f5","36af87e7b73f","f8bf31afacb5","7dc5e2ae3065","a0a623c167f6","1fd3046bb30b","f1560899b75e","3a448f5d5f60","3700a6e573c8","6ca2f719f0e5","72203175e4c0","039bffdc29b7","4bf457b06fd7","a661af9b31c8","77959d2bce81","5f53974cb935","29dd157794d6","perpendicular to the body),","f3e81d63160d","6890df9ca03a","d3c7a0636441","2a14f9a6b93d","fd1904178195","d291da3cc168","b29830e5ca6e","8b200ef78964","e6ff7cc239ca","3750eb369dd0","afc2c5e6fe30","c8f8f7d12df5","6b73e9dddf04","36c9b5ff32b2","fba2b7e30e31","8bc82e0c0f80","d33fd93b5d7a","b12e63672ff4","f76821320703","2188afe1d273","05a0552ddb11","exists only in water.","f34c714e9db5","3931dbd14d7c","4c62ef0a210a","c4cf5a3520e8","928f5a861657","36d781e29484","effb4ec0f716","54e1cd2ec7ab","01b73ae8d721","01ee2433973d","a248225c4d1a","f3ed39f3abe5","fe397ee3976a","3ae190f1238c","b2e722d7ffbb","02d99a550426","43ba0a442d23","8b47afee0732","8473ad0387fe","4c147879fa39","cf9ca4dd88380","Anatomy no amendatory argument. The facts","035860055f6d","033e4283a69b","f0be10998e05","9f129f520d39","d542b8cc46ac","01ff1c16cb10","4736e3ea4ab0","3e1d65380601","35c34a039670","f258a811dff0","cb192cb7c7dd","0b2da688b8af","ce887cc92c10","fe3b22083843","6540f9c17e9c","2cb2fa051c54","1310db363509","d793ad0abcd0","2e88bccc0ccf","3cdf372e89ac","03b00180a495","of the whale which are very like a whale","d426363f3942","adee49520f8b","947eb78c8f36","20c54d09938c","179789a4b185","b1f6a5e0f481","98b85c7db26e","d9abdba52f5a","a0ce3dc105f0","b4270e1c4e0e","1ffcb353b3c4","1fe3d4bc65e5","00b54b7e8447","c088c54afc24","b94188e08f8b","59b235cd0237","702ab40340e9","26967aa60157","d64e1325e444","8f9e50ce2a88","6dfa3771ea17","and its oil: luminous,","8ffd8de66456","bbffb4fd28d6","69fe57ac68de","f0abd7751cb9","3afeb17fcfbd","502610e6d8ed","83038f454189","439d82f29b54","063a6f205145","071bd1c7fa25","2d2052fd3733","6445c56c201d","0f57e0575fce","4f8db5f825e9","6b961e9f647a","9bbe29d8251a","7ab1f781e06d","1164099c7933","a7f5617173ec","62ab54a5e32a","d8b9496fb4ce","f7b0c0187e4b","0abfb7c5dc2f","6ee8498baa92","a77f4ecc3e56","6170ccb8bf2a","c8f7479bb2be","ccf2216b2083","e16f8280d812","ab3159f1a4d3","8ac87bfb8d6a","b33d5c701a95","15e39dca08b6","c13ab672a244","cec2c6a64191","liminal.","ab6f28add9cb","1dbd72d7bad7","78cbe9e25a8d","c736b1da399b","16f550415ddc","ac7f25a299a3","31ab7d8a387a","5818cf596948","d95c1eab6b32","331676934f4f","a20502de7ed8","c41e84798774","3e56fc5b2ef1","594512d5c612","a75a66df3bf3","e905be5bce20","a84d554c9d90","d20e1cb50663","6d6a57c860a0","865d03b8bd60","e07f855fc37f0","The fact: ","b384eb9e2ab6","a whale is no more a fish","a50753bf5048","0979e775961c","063ae88b051c","dcfd7f213661","9d05c6c70be5","b0e9a4a1df54","e1365bf2ce12","2d134d2f2a61","5470dffe6325","95ebe1e186c1","5ac43178f071","487268a60442","b9b723fc21d9","84bada73d6d2","7ffe5471dbbc","14841b2bb473","9bba8da9456b","8109c173eb31","6c1fa08889a4","985893f9ee8b","62770c8eb8d3","than a man a fish.","57b7997e2ca8"," This, the problem","abbddebf9ca9","4b30daa15950","eed71ee7a875","f19ad81fdb35","4876a7a1a56d","e590dd84318b","44bb07df99ff","830712cb0c90","26efa4766562","fd5445538c91","5c49562c50d9","1c95fea641e1","f8f20dca508b","20cf490afb3f","34ab2e8d618e","3f9f727bf035","47c9947239a0","ad8112587db9","f506805ed9c8","234b4f7f490b","676ed6ff04ca","of knowledge, which matters","96e24a9f4b18","acca896cc9e7","def8db222e23","cd8f24bf4c4c","2f22ab2ed426","348940d0e61b","79e736259227","785b345a9b3b","192f4c1f473b","c075174d837e","f9df6eda30f8","2299b7cc1e62","5f31315adaf6","a53cfac367a7","ad2aee9cd87
325","9aad1d77ad32","8a927a61ee36","d94eef6304fd","67e0876869fc","a21ebccb1a3d","e702b8770d89","not at all to the whale,","74cd4f9de677","a17a7e933cc9","0a4dcf513bf6","2a5f78fb65da","d6201a387b5b","2f16d17d097c","469eb146893c","2d69d0d099de","ef5f1964f80e","44d05d8ec7d7","b13a6b0fa59a","6c54442b014e","9be24bff3f6c","7af95db5aea1","a3fe69fc90af","9aa55a3870bc","f08accdd51a0","a2d2bf48e6c1","e10b06f82b2b","c3f8153edf67","5bc35b14fcb5","e1952c7cd40f","1289d2b14aff","bd1e3af905ed","c0d2a1d22475","a3548cc4ed4e","4f1b1bc18701","9c21c3cf1426","79499ccdace1","95c0a851cb6e","a99e42fb337b","9092e46f5f32","b260d6cc8c3c","b215975a58b8","45d825dc7791","who, though neither man","f8f803fa439c","8163baa3d017","ba7bd5658270","a2c87286171c","f0ff374acd9f","ef1aca4cfd36","e390bca46bbc","5ec774875da9","b19a4d916ab4","6055c74e4eaa","f06234c3931a","279d80b6bfd5","ebcf32f9de27","3c2288f2d86f","2465d1d20bdb","6ddf32c03480","313d1d2ccf8d","32d61efc7093","786a3fd274e3","dea1e305feb5","f132feefef85","c9e23d3ca3cb","be3157ca1654","45f2cd1abda0","34089d44ff88","2fdc1b93be33","99511ccd547e","548be4344b90","921ba8e2dbd2","bf39f34cd4c6","30d834d38abf","aaa46a78c71c","2c6bc1f87f90","nor fish, finds itself dead,","5af53a058654","5a57a32eca38","296abcd8ae99","bad02f8af80e","eefcf71fd02a","4b7c1d7bd4f7","a30ab7588230","1b6a5b3aa3da","5128329ac6e4","38d61c8eccbe","5a29507f2def","11f3d9ea0a90","4f98e9167c38","dbc00d0121c9","cef167b65940","c45529339414","f097bf9c8344","b88385064268","01a5655b997c","c103fc0c84d5","1b80824cf0d8","ca15a26ac047","290584a14be1","195ca0f19676","7fc297718f3e","96bb6f307af1","c170a5ee468e","harvested by the whale iron and the rope,","725ca7a7e018","16e70c650416","ff388b7e3ae6","3889f6658a47","7c975ef9b63f","72a775f8d940","c4351819166f","e9d56d83993b","dedb4929322e","8974555a28ba","0fd00cbd873b","cc99c757039b","55efabacc261","7028db754d7d","2abb2b343cb2","8f2396ba5aa1","91102002d946","23bd8fc35de8","164b494a8f9f","cc9d63ef8859","44e09e4bee6b","c2f1ed203c5a","e104badbcaee","the lance and the long patience of men.","31d9825960ee","7681219f356b","a425e4faf986","19ec0fad621e","451f3543d889","7ad2e9b42a26","a33cb84f0699","ddfdbfc93834","862b70de365c","fa5a62a87e21","99ff8b4a4280","de8bcfab0d2a","fb7fbb749c68","b372ab360298","e851f6691d37","b08150e19d29","04d1dddc049c","0d6b4a5729a9","de427c4265ae","c51c6c26faec","e360a47317620","This, the triviality of taxonomy, science","ca393b1e5d63","fe62e7618799","da216ab60475","227df14783b1","ceee3ece22c5","50facaff1f7f","ecf13559f4ee","027c687975c6","94ba67767ee8","716640088271","423f44c51dae","ea579d150d9e","1c2b91dc883c","4187690383ee","42be87c5cad6","cad15171cc93","75a5a09c39f3","5ffd9864f817","89ecc6a03bd8","89fb1d93e797","55275fc9d0ce","abutting the bottom line,","d1327e099c8d","063c92826cf5","7d07a687d494","eec921e0514c","ed2fc4478ca5","4b1ce05fdb27","7cb81dbc821b","d8963a67adf6","54c9b3036da5","a7627a611301","047ebeb47ded","1ef877408bad","b7a060747b3a","8f56744fa8a7","7f3c3a39357b","93a7d0bb8f71","a1eb2c164082","23d0bcc5f0b3","fa009548c316","9801aefabc11","efca38d62296","statute and regulation in the Empire","6fd2d00f3554","b12fd9a7ca9e","bc692306233c","3d68e1ec2d23","80f8ac0d4c94","48f5b86bae20","d4c3f8365fe5","a4ace50d855d","ad0c66bc664c","79de5305994b","a7c459234f7b","f7b7198a21c5","cb82a31d5f3f","6e5334d0836f","756a657f3bdb","d6b1d1bbcea9","e9e67149bf96","ce76d317aab6","762b4b229d74","203eb0eb26a9","c21371239c21","1180fd778bca","408adc31b674","State: wheresoever located in the great chain","07ec6bf8e5c3","a5f5a2b563d1","f25d0b70bb51","7d4b27f19b8f","018a87445ea0","720bde2f4882","93085f2de48a","fa71593d6bf5","18547eeb3e5f","f051b98efc10","3ab15461f1c2","8de4ac75fa28","fffbfc804f62","acd9c38b821a","2ad55a89141b","5fbe04b93cce","7fa5f7527c6c","933dfd72c7bc","6bbf9ce637d1","f78fa5a91ced","545eb3932250","a3975fb015cb","f093500e6457","34dc4cd11ea8","4c4e32cb4a54","of being, the whale is worth more","1115cceebff0","756e144b46fe","d46bf2062f68","7238e41e9086","833b1ea8a4dc","488eb98602f8","4ef3d0d64691","4e1785105318","5f1f3d339f8e","811c667c02b9","54e4a58380c9","aeac33b939c0","ed94713baeb3","42eff29d1b41","7475c4af3cf3","9194a600d6cc","7dbb8245320e","4ae5e08bad2d","c04c8ebc8bc6","157e127fd4d7","ee51e80663e3","fece838b8e27","226aaa2f2803","61f2ba944394","948ef66ca1b5","4719bfa19f35","f02366236571","in its profitable parts,","1408ab5fe511","ae02c34f1f7a","3a39a38e37b0","5ebb90b651a2","1257cb841f8a","7900db4793d6","44653e6150ad","1b618d88b7c5","68ec02680387","874e21a09ceb","d142d841d6b8","ade7dfd13b62","3bcc32191c08","2899be7b48
3218","86e576478fb2","fc1df500b20a","440036dfd307","ed5195acabf9","615116323319","d422aefa2e5c","2f64f748ee6e","40c1684eb8f8","8ae5d143db5f","a8a739d6e79e","84d91325c797","the baleen commonly called bone,","ad149da87246","9f5352515773","31dbc4ae8198","d111a46f5dfc","fff1032b5c54","a36adcd18900","3e4c06fe226a","8fc60bc20406","9fc8577777f9","63c88a49249f","059e183233ae","dad89f2747e2","713b2cd168b0","f266308284d1","5d1ad81b4120","dc418613606b","fa79794f716e","313ffbc9e7c1","211cdb9cc08a","86280e64932a","1e4ed165afdd","a040dbddc310","fe882877631f","the oil commonly called fish,","2df54b8cf46d","96745e4b2156","a3aa1213c164","43c44b5fd164","11598cc01a40","2479432d711a","009d38637b77","fe6fab47b3fc","e1a1bb223b5b","ffc56f9b39eb","45a650df2695","4ce5fe69c4e9","f4dd1b19c866","ffea5ebbccee","cf84b8483152","dd00fd1017f7","425bf031c2c4","3a20bd25ae10","ac19a804f753","76dbbe66dc5c","cd1d8c62226b","the latter, subject to inspection, to tax.","20005b4199fb","8aa8354b7af7","dfd5ccb4c810","e355b9bd813d","60f4e5b975f2","d258f80b24dc","7b99d20cfdf9","66109c69afd1","2cda83aba860","7878e81ba3fe","cb839cbd5913","8a0bad4b616e","797b7613eedf","cf7e41d61185","f4f6b1e3fe33","dedb193f5ad2","7bd07a6991b1","a6913677e1a7","feaa04011536","e23ce092a461","f1d83b989e270","The verdict: the fine to be paid.","ef2c0e5459bc","4f65044d78f0","6c81abb9e4dd","bc1a586f274c","bce05d6d0169","c4c7697131d9","d84b45c8069e","18f92276ebed","d3a2129049f0","661bf2899eb2","73e6910a8d1b","Many thanks to D. Graham Burnett’s ","d77cef88bc9d","Trying Leviathan: The Nineteenth-Century New York Court Case That Put the Whale on Trial and Challenged the Order of Nature","b7d941893ec9"," (Princeton University Press, 2007), a lively book that brought the evolving and intersecting worlds of early 19th Century science and law to life. ","8f4b17cc5db1","7aae8225ee1f","159029ae87d3","e7615c1ac3c4","5bd57bca96fc","31a2f9e7d844","489f968a0a23","(English; 2 minutes)","d0535faf0d31","a0a3961f6a78","33e74b72088e","83fa1f6373f5","088f94848203","8667f647ed79","e87492889b87","7d91a0f8a317","e0902b3c2dce","d652b7c95306","de6250b8b32e","646689e5e458","A Problem of Knowledge","a-problem-of-knowledge","2022-07-23T11:58:08Z","09248756-dd4b-4fef-b74c-38da1e31ab7f","cQbHktflgzaIIKHTEVOwAJ","2023-06-21T07:15:49Z","04d05b40d419","e70ff04d6120","ba2c1bfc261a","53bb23fad489","e5642ee4252c","image-3e81a2aaf5cea179dce2735b0aa7b37da1ab479c-5066x2762-jpg","3417dcc5e5d4","this work contains flashing imagery","94318d7ea88c","image-2ef3104b64fed7d80515eee4e4891d1cacb8b2b5-5120x2880-png","f27decfddd1a","5472074191c90","616d06d528b4","04e5ba0ce1a6",", 2022. Livestream performance recorded at Mercer Union, Toronto on 10 December 2022.","7072462c3268","1a53c8d1e843","A dark blue lake surrounded by green trees on the far shore. The camera is mid-air, perhaps in the canopy. Blocking the view of the lake are the branches of nearby trees. To the left, so close that it is blurry, is a branch where a shadowy bird sits. Superimposed on this image is white text that reads: about undesirable birds.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F780838919\u002Frendition\u002F720p\u002Ffile.mp4?loc=external&signature=a4804cb2497a49292970d2c702777404af38093c31b89a8359e8a4845a0340c9","dd820d9fc4f8","b0a3c8d35b63","aa8ef1ca2993","Spypoint Borblery is about undesirable birds. The performance unfolds in three short chapters:","3ca292053192","365f287cad93","ebeaac5e877e","1. The Advantage and Detriment of the Resurrection of the Turtledoves ","321115434d9d","16e3a5ae2c81","0ec8f97a018e","d1db0f0a78f8","7b191d2bfe25","b8880fbbf985",", Appendix F, 1906. p 331. ","f54f46050fa6","bdfb265abccb","Louis Armand de Lom d’Arce, Baron de Lahontan, ","015ab706541f","New Voyages to North America","8b22bcf39300",", 1703. p 61","f271063909a5","25dcc2f8fb4b","In a word we eat nothing but Water-fowl for fifteen Days; after which we refolv’d to declare War againft the Turtle-Doves, which are fo numerous in Canada that the Bifhop has been forc’d to excommunicate ‘em fooner than once, upon the account of the Damage they do to the Product of the Earth. With that view, we imbarqued and made towards a Meadow in which the Trees were cover’d with that fort of Fowl more than with Leaves: For just then ‘rwas the seafon in which they retire from the North Countries, and repair to the Southern Climates; and one would have thought that all the Turtle-Doves upon Earth had chofe to pafs thro’ this place. For the eighteen or twenty days that we ftay’d there I firmly believe that a thoufand Men might have fed upon ‘em heavily, without putting themfelves to any trouble.","53aaf32fee7a","294045309379","f3f09de48b4d","f318347f4cbd","2. In which we Identify a Deep House Sparrow","76f4da6b0bc4","8d7c24c845c1","06c9f6ead9fc","2bf50ad6f20b","a9a0b8611d10","995110d4a0c0",", Appendix E, 1906. p 311","3bb75babad92","9eac6f360b89","Decree of Augustus, Duke of Saxony and Elector, commending the action of Pastor Greysser in putting the sparrows under ban, issued at Dresden in 1559.","80da1d62016d","c2aa8983e0c5","Dear Getsener. Our dear devout paftor Greysser here, in his laft fermon, was very unsettled about the sparrowf because of their incesfant morose loud crying and annoying unchaftity, as they tend to do and prove during the fermon, to prevent God's word and Chriftian devotion. He put them under the spell. Becaufe we got the report that you purfue the small birdf in variouf sighted and cunning wayf and handlef—also use them to look for your food, among other things—it is therefore our graciouf requeft: that you may be rewarded for making known, how and in what way, by whatever meanf you deem fit, the sparrowf, when they are young, and multiply innumerable through their daily and incessant unchaftity, are chafed from the church of the Holy Crofs without special expensef. And may fuch annoying birdlery and vile chirping and shouting be withered in the houfe of God.","2ef0d5fd5c453768da7712f8d3c0814a","f11f5ae315bd","78b1fd0b064f","d2737376e995","3. Dangers of Avian Poetry, Debunked.","8df4f7c31bc1","904af077329a","8c73f124ddf1","68828bbfdd44","Frank M Chapman, ","8491ea30228c","The European Starling as an American Citizen","e4e4f6d7d551",". Natural History, Volume XXV, Number 5, 1925. p 480","acd9f3a5e418","437cb2991bfa","Having with thoughtlefs hofpitality accorded the starling, houfe sparrow, San José scale, gypfy moth and other pefts, including certain memberf of the genus Homo, free and unchallenged entry to our ports, we now ask (if to our forrow, we have not already learned), “Are they desirable?” So far af the starling is concerned the queftion is not to be anfwered in a word.","dcacb9a80c51","9ee15109c27d","79f7ade9befb","c920b3d88932","0078b24255aa","44dd21d1c002","ad802f61d386","Performance by Oliver Husain, in collaboration with artists Anni Spadafora, Adham Faramawy, Pony, and Richard Fung; music by special guest Marker Starling.","f061ee12407a","34a4bb91d13a","ba4f04d5a6eb","bfece9be0948","fa87ab135b53","Video with Audio","67d095a1ca36"," (English; 50 minutes)","04ca3e37d3d5","a4754b936294","ecd5db519339","2bb9b2adb0c2","25ff3b5a48b5","70e13cc158ed","058932560b12","744aa61948b3","e1f5e350221e","2127d1e05e4d","77db9e223c30","c0729615701f","7b23f254d3cc","249cf8fa4b07","a3f87a247c5e","4b357a611088","15f1c04f6d3a","01d43b8e0541","df2ecf761e6a","spypoint-borblery","2022-07-23T16:07:46Z","707b4247-e635-4d4d-96b2-5d0fa461419f","R0DMFCD1Wgl8PCkojwA0MZ","2023-06-21T07:15:30Z","9132436c78dc","d343cda5da1c","Sukaina Kubba: ","5af
32cdc57c838","0ef995bfbf1b","537e2d12a087","image-0155bb59a278acf3837532081643bc7842c22236-3822x2146-png","6cf2f399dcb4","4cfc8d7ac09c","18a02b138b480","18a02b138b481"," is an exploration of orders—cosmological, legal, and practical—that govern our relationships with domestic animals. The videos and texts loosely mimic the structure of Islamic Medieval genres: Cosmographies (eg Al-Qazwini's ","18a02b138b482","The Wonders of Creatures and The Marvels of Beings","18a02b138b483","), and Mirrors for Princes with moral parables played out by animals (eg Al-Muqaffa's ","18a02b138b484","18a02b138b485","). The narrative arch follows animals in astrology, folk tales, bestiaries, civil law, and science fiction. All the domestic animals, domestic objects, scenes, and sounds were recorded or drawn during La Wayaka Current, an artist residency in the Atacama Desert, Chilé in May 2022.","185c34027071","61b1689e3504","bad0f427dcf6","557dcf98df74","d9331fd1aee5ff7ff98bf185a3fca078","e53391bb2938","1493e59965a2","Image Description: A red, fleshy circle resembling the earth sits on top of a black background.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756606479\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=f693be64a0365a556f002e4375d3eb0c9aae292354b15d3662885f1162d9176f","f7b6fea9979a","3a303d71ffef","Image Description: A dry arid landscape with a blue sky takes up the entirety of this image. Two small brown dogs stand in front of a brown bush looking at each other. A black and white image floats in the sky above them mirroring their actions.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756606581\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=92709650f63cf8fec473657599f35d0a3ea9c1ca54fe48b8e340ecb42a8dfa76","6da569fcaddd","c43ee831b1b60","I had a family\nof trees, and another of plants,\nand I talked and talked\nwith the animals I found","ad0c107181f6","263539569020","A magic bowl was rumoured to have been found across the ocean in another desert. The maker is unknown, the providence is hazy.","244291ceb41d","33149601609d","Unlike other bowls of its kind, this bowl depicts the figures of the zodiac and planets in the form of domestic animals. These are distinct and well engraved. Both the interior and exterior of the bowls are completely covered with inscriptions and the usual interlocking ornamentations. There are no magic letters or signs, nor does the Most High Name of the Seven Symbols occur on it.","8b5bb29682d3","2c4fa11fae8b","The Planets, al-kawakib al-Sayara, are the figurative representations of the seven planets, arranged in the Ptolemaic order, the Sun being in the middle. The figures are separated from one another by short inscriptions.","34de3a8b4eda","bf153de63127","The broad face of a Rabbit represents the Moon, al-Qamar. It is covered with a headdress that encloses both sides of the face and forms a knob on the top of the head,","455610e0011e","7f40b608147b","To its left is a Serpent with a stylus in his hand. This is Mercury, 'utarid, in astrology al-Munafiq \"the deceitful one.\"","3afe9af0b6cf","2aed4404dce1","Then follows a Goat playing on a harp. Her hair is done up in two thick braids. This is Venus, al-Zuhra, in astrology al-sa-ad al-saghir, \"the star of little good fortune.\"","17ccf857a67f","268a28b50ad8","Her neighbour is the Rising Sun, al-Shams, in its house, Manzil. In front of it stands a Rooster.","7bbbf1b44f32","f8778ffaaf57","The Sun is followed by the figure of a Dog holding a staff or lance over his right shoulder. His left hand rests on what appears to be a large jar, but in view of the fact that this is the image of Mars, al-Mirreekh, it is more probably a shield of which the lower part is not visible. This planet exercises a sinister influence and is called in astrology al-nahs al-'asjar, the star of “lesser misfortune \" in relation to Saturn, the star of pre-eminently sinister influence, al-nahs al-'akbar.","1b2b07ed720d","df52d3373484","Upon Mars follows Jupiter, al-Mushtari, an enthroned horse, holding in his left hand what appear to be two sticks laid across one another, perhaps thunderbolts. Jupiter is known in astrology as al-sa’ad al-'akbar wa yadullu 'ala al-salam, the star \"of greatest happiness that leads unto peace.\"","0576efc97874","cabaf7588755","Fruit that falls from a tree onto neighbouring land belongs to the owner of the tree.\n\nAnimals are not things.","2e2e4a9231b9","8e804330c54f","In the summer, when he went off by himself, he often took\nalong a dog to keep him company. This was a small yellow mongrel\nwith a downcast expression; in fact, as Sandro had told me,\nacting out in his way the animal episode, as a puppy he had had\na mishap with a cat. He had come too close to a litter of newborn\nkittens, the mother cat was miffed and became enraged, and had\nbegun to hiss, getting all puffed up; but the puppy had not yet\nlearned the meaning of those signals and remained there like a fool.\nThe cat had attacked him, 
32chased him, caught him, and scratched\nhis nose; the dog had been permanently traumatized.\nHe felt dishonored,  and so Sandro had made him a cloth ball,\nExplained to him that it was the cat,\nand every morning presented it to\nhim so that he could take his revenge on it for the insult\nAnd regain his canine honor.\nFor the same therapeutic motive,\nSandro took him to the mountains, so he could have some fun:\nhe tied him to one end of a rope, tied himself to the other,\nSet the dog firmly on a rock ledge, and then climbed up;\nwhen the rope ended, he pulled it up slowly, and the dog had learned to\nwalk up with his muzzle pointed skywards and his four paws\nagainst the nearly vertical wall of rock,\nmoaning softly as though he were dreaming.","0c1d873f0a34","3787a594e4b0","e63b7cdaba09","Image Description: A peach coloured background with cracks of paints on it shows a shadow of a string of light bulbs. One light bulb is visible in the foreground.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756606844\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=7860c07e55673df17283ab786f7fac4a84fc59a92435102ea25f8c51d43ea123","f0c9917dc4b0","77a7d29423b9","Image Description: A bright sun in the sky is visible in the grey, gloomy background. Brown and yellow-ish plants and tree-leaves border the image.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756607029\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=d361244f018fb5b73ba15fcd10ee6768c13b2cc90a65d8915e04788fca40467c","d9d3002e3ee3","abc52af8b38d","And finally there is Saturn, al-zuhal, having the figure of a camel or a llama with six arms, resembling the many-armed Shiva. He is seated in the manner of a Buddha.","539b9aa2ded8","34f605cd9af3","In his upper right hand he holds an object resembling a spearhead or a pointed bud of a flower.","6116708b7abd","e6fead25cd1a","In the corresponding left hand he holds an object of a triangular form with a rounded top.","c1869dad48f6","35da037cad9c","From his second arm there seems to flow a stream of water, while the hand of the corresponding left arm holds an object of a triangular form on a long stem.","d2e45e79d1f9","675c3a7eca5f","The remaining two arms hold nothing in their hands. The two sets of lower arms are attached to the middle of the body.","3042fcd42a3d","1a89fa911362","The Bowl was decorated with various pictures of herbs, buildings and leaves, also of reptiles, and with figures of birds, wild beasts and forms of old men, young men, women and children and painted inscriptions and rarities of distant countries and joyous instruments of music and rare animals exactly portrayed with different hues, of perfect beauty with limbs firmly jointed: with their mobile faces they seemed to hold secret converse with you and the fruits seemed to approach as though bending to be plucked.","8d20b50bc89d","9aeff855073b","“animal” means any domestic animal or animal kept in captivity and its fertilized eggs and ova - and applies, wherever the context permits, to any part of such an animal;","f0cb79495799","30470b77f97e","In the absence of any evidence to the contrary, a person who keeps a medicinal premix or a medicinal food in a quantity that exceeds the needs of his animals or those in his custody, is presumed to intend such product for sale or supply.","198251e890cb","e4600dc5286a","f9d8b67644e1","70b749d5e0fc","With the Crow, for example, we\nare given preparations to prevent hair loss and\nto dye hair:\n\nOne of the uses of the black crow is that if\nit is burned and its ashes are kneaded with\nolive oil and it is smeared onto an area\nfrom which hair has fallen out it speeds [re]\ngrowth...\n\nIf a crow is taken\nand thrown as it is, alive, into a new vessel\ntreated with tar and three bowls of vinegar\nare poured over it and it is left for some days\nuntil putrid, then taken out and pounded\non a lead pounding block and applied to the\nhair, it will turn it black.","dd1f05a7b76c","437b707a0289","0300b7345f69","Image Description: A two-toned jagged rock sits on a cream coloured background.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756607217\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=e0c93c1cb2abf98f2f50d43e3d2e8ecc494201872aa729f0195cc8f3eb527aeb","image-eb2b8a39546db4cde48e4651a969ebb268c076f1-5120x2880-png","350631f5d4fb","6861d47b6e1e","Image Description: A shadow of a plant with little leaves is visible on a peach coloured background.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756607570\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=291185207d9b31a6c206d84fc5fe2bd8b8766e5dcd5f695137186e824a5ac8d0","155cb3da1bf8","0fa9308b7972","Animals are not humans and are not inanimate objects. Presently, the law has only two clearly separated categories: property or juristic persons.","93b4c2a1a0ae","6e623e275a0a","Our purpose is to shift the nature of the relationship between the owner and the animal from that which is like the ownership of a rock to that which is more like, but not identical to, the custodial relationship of the human parent and the human child.","5ac5e4e8fd5e","e81042cf3ac8","3 percent of mammals are monogamous.  Play teaches animals to handle surprises","a1bac4dea186","e927c87eabd4","Five different brain areas evaluate melody, rhythm, meter, tonality and timbre.  Music was the first human language and still is the language of animals and birds.  Music predates humanity by 160 million years.  The introduction of birdsong brain nodules to the appropriate human brain sites has resulted in aphasia, also, temporal lobe phenomena like omnipresent sublimity, hyper-musicality leading to hyperventilation (whistling or singing)","ca4f9f3768f3","d7928c2d7047","Human cords were already capable of purring, and it needed only the insertion of feline amygdalan and hippocampal and hypothalamic cells…","da537742ba52","51a7ba644c2d","The space project accelerated as it was becoming clear the earth was in for a terrible time because of the climate change and the general despoliation of the biosphere.  Defenders of the space project always emphasised its humanitarian and environmental value, the ways in which the resources available in the solar system might help Earth limp through its stupendous overshoot.  Inhabiting the other bodies of the solar system could be said to conform to a Leopoldian land ethic: “What’s good is what’s good for the land,”  because it was going to take stuff from space to save Earth.","e4b40a7f43a2","cea44a3063d4","The first settlements were on Luna, Mars and the asteroids","9c4b81f96f6f","c3c47a88c08b","The beautiful terraria in their thousands, jewel-filled geodes, spinning like tops, hopped out of pandora’s box, never to be recollected","9cbc8963dd59","cb50c8dc5f68","Where transferred property taken into possession by a transferee is an animal, the transferee, in the best interests of the transferor and taking account of circumstances, may care for it or slaughter it.","17d939f2834a","cbb3831bf161","The Alicanto 
32is a nocturnal bird that seeks its food in\nveins of gold and silver. The variety that feeds on gold\nmay be identified by the golden light that gleams from its\nwings when it runs with them open (for it cannot fly); the\nsilver-feeding Alicanto is known, as one might expect, by\na silvery light.","66926fe447ae","13d5303ff681","The fact that the bird is flightless is not due to its wings,\nwhich are perfectly normal, but to the heavy metallic\nmeals that weigh down its crop. When hungry it runs\nswiftly; when gorged it is hardly able to crawl.\nProspectors or mining engineers believe their fortune is\nmade if they are lucky enough to have an Alicanto for a\nguide, since the bird may lead them to the discovery of\nhidden ore. Nevertheless, the prospector should be very\ncareful, for, if the bird suspects it is being followed, it dims\nits light and slips away in the dark. It may also suddenly\nchange its path and draw its pursuer towards a chasm.","068e4904f430","31dd06d959b1","06a0e2345d2f0","Image Description: Shadowed Trees surround the screen creating a stark contrast between the foliage and the setting or rising sun. The sky in the background fades from yellow to blue grey.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756607829\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=04528f6fe871bfb45198e56dda29a0dbc730b13a75c7bb0fec2fbe9709586bfd","e5c369aed802","078f1d36fc54","Image Description: Mountains in the foreground are grey and white, A vast landscape with a bright sun appears in the background. A circle is at the centre of the image, changing the grey and white coloured landscape to red of anything it touches.","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F756608072\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=072da648a759535641cc62cfe22ed166c9006df93f2a950d1d2f8a63eab78efd","646de1da1f57","0fe38b0720c2","Most of them accepted namelessness with the perfect indifference with which they had so long accepted and ignored their names","a4e715fdb1ea","5c4ad6f8730d","Among the domestic animals, few horses had cared what anybody called them since the failure of Dean Swift’s attempt to name them from their own vocabulary.   Cattle, sheep, swine, asses, mules, and goats along with chickens, geese and turkeys all agreed enthusiastically to give their names back to the people to whom - as they put it- they belonged.","5afef8fae1f1","31fea95fe322","A couple of problems did come up with pets.  The cats of course, steadfastly denied ever having had any name other than those self-given, unspoken, ineffably personal names.  It was with the dogs, and some parrots, lovebirds, ravens, and mynahs, that the trouble arose.  These verbally talented individuals insisted that their names were important to them, and flatly refused to part with them.  But as soon as they understood that the issue was precisely one of individual choice, and that anybody who wanted to be called Rover, or Froufrou, or Polly, or even Birdie in the personal sense was perfectly free to do so, and not one of then had the least objection to parting with the lowercase generic appellations “poodle,” “parrot,” “dog,” or “bird,” and all the Linnaean qualifiers that had trailed along behind them for two hundred years like tin cans tied to a tail.","039860409081","914f9d97096d","The Blind Llama’s Eyes follow your singing voice","547a97985846","91928e622ce4","Characteristics of the Camel ( fol. 41r\u002F132r)","d88c7fb83d8a","f9183a32f0b7","The Camel is malevolent, extremely spiteful\nand bitter. It has a long retentive memory\nand forgets nothing. It will look for an\nopportunity to be alone with someone who\nhas beaten or maltreated it to take revenge\non him, and when the chance comes it will\nnot spare him. It is like a despicable man\nwho does not spare the other when he gains\nthe upper hand.","ad0c84b9ce0c","21467a141996","It is said that among all the\nbeasts of burden it is the one most like Man in character...","f9630dde6000","e6e883370552","f4a1d7186147","31514e7cc33d","be586c05239e","Works cited (and sometimes distorted)","cf312b86666b","f0d7028e1bcd","Mistral, Gabriela, Poema de Chile - Poem of Chile, 1967","9770e0c78ffd","5d40c2355522","Spoer, Henry H.; “Arabic Magic Medicinal Bowls;” ","01b4ff521bb3","0d51e8131b3e","; Sep. 1935","7cf168b5946a","144484b946e1","Spoer, Henry H.; “Magic Bowls II:  An Astrological Bowl;” ","bfa63ed1058a","8354514a2318","; Jun. 1938","dd52f909e2bb","bdead2d371a1","Civil Code of Québec","432cc84b4bf1","67e809e039dd","Levi, Primo; “Iron;” ","1e9770a6dfd8","The Periodic Table","7e302b706f9d","; Einaudi Books; 1975; tr. Rosenthal, Raymond; Schocken Books; 1984","b535ad094f3e","1c970b59daa6","Ibn ‘Arabshah, Ahmad; ","c02eeb10af82","Tamarlane; or, Timur, the Great Amir","fb494133fb04",", 14th century; trans. J.H. Sanders (London, 1936)","37e1600bc2e2","0d7c0c4a2010","Necipoğlu, Gülru; “The Scrutinizing Gaze in the Aesthetics of Islamic Visual Cultures: Sight, Insight and Desire;” ","82bb6d82c71c","Muqarnas","8ef6f84c5047",", Vol. 32; 2015","e499011706f1","b7c8743245bf","P-42- Animal Health Protection Act - Gouvernement du Québec","432c9d76aee3","d7bf3f03f9a9","“Manafi’ul Ghurāb (Usefulness of the Crow);” ","ac287aaae853","d7b469a64f6e"," c. 1200","6ee0c7c4ab92","a597e2c4d66e","Contadini, Anna; ","8d5acee7f698","A World of Beasts: A Thirteenth-Century Illustrated Arabic Book on Animals","ee3efe482281","8b401e20faf9","(the Kitāb Naʿt al-Ḥayawān) in the Ibn Bakhtīshūʿ Tradition; ","7aa1b4b6df88","Brill; 2012","a4c78c72ad65","49e4171bd8b8","Favre, David; “Equitable Self-Ownership for Animals;”","84713d8638d1"," Duke Law Journal","c80f5ffed679","; Nov 2000","85e7f30ebb3b","2b938e2e8052","Robinson, Kim Stanely; ","db7a862736b3","2312","54079d24bccf","; Orbit; 2018","81d5c8cba09c","711a558d030e","C-53 - Act Respecting Bills of Lading, Receipts and Transfers of Property in Stock - Gouvernement du Québec","774e14a18cfc","8
320f6fd5181c3","Cifuentes, Julio Vicuña; ","b31bc691beb9","Myths and Superstitions;","1e7e18761d96"," cited in “Fauna of Chile” in:","2b1f5b0c8ba6","bcf6ff46af6c","Borges, Jorge Luis; ","9bc9f3a96555","The Book of Imaginary Beings","a320b3cfc0f4","; 1967; tr. di Giovanni, Norman Thomas; Penguin; 1974","7812886bad1c","f5b2a85c8315","Le Guin, Ursula K.; “She Unnames Them;” ","f2f1bbc496a5","The New Yorker;","158ceef53849"," January 13, 1985","f69b4b874d71","4439eedb19eb","“Na’t al-Jamal, (Characteristics of the Camel);”  ","a9e2fa7d864c","64bec653226e"," fol. 131-132\u002F 40-41v; Cat. 60), c. 1200","fa1679236f6e","e11fbbd36e3a","Al-Qazwini, Zakariya; ","de7be6cd0942","'Aja'ib al-Makhluqat wa Ghara'ib al-Mawjudat","dd32a5383b66",", (The Wonders of Creatures and the Marvels of Beings); mid 13th century AD","7cca0557de5e","8093ecbaa857","Ibn al-Muqaffa, Abdullah; ","3cc0ad306f32","28cf4e6bd1bc","; 8th century AD","00a8375ca9a0","7cf11c9d3efc","c77543b2e907","9dc0583f12fb","47a6d8c00495","48657f49ed11","Carlos, Sandra and their family who hosted us in Coyo in the Atacama Desert, Chile in May 2022.","954d92b3aaa6","3c5cedb9d8d1","Paloma, Gabriel, Pamela, Maca, and Gaspar and all the wonderful people at La Wayaka Current, Desert Residency.","e9ccae9013e6","6c5ed049fbef","Edu (short for Educator), Golden Mongrel, Coyo, Atatcama, Chile.\nLascar, the Blind Llama, Coyo, Atacama, Chile.\nBernie, my Saluki, Toronto.","28a953ba81ff","49aecfb2eb39","The dogs, the llamas, the cats,  the chickens, the goats, the sheep and all the beautiful domesticated animals I have met in Coyo and beyond.","a38251a8d6e5","641fbfcd49d1","Thanks to Tyna, Dardi, Anna, Jess, Stuart, Tim, Yixuan, Bicheng, Peter, Cally and Franca.","fb7767b094ba","9cc0c557f829","6ecbaab
3215a2c","f954c9976055","65dbf971286f","6d664d21c697","(English; 2–4 minutes, each)","880063c48f9a","c952f09780af","5a26d02f5cbf","32e7cd5be5d7","e34f543f-adba-43e0-8cca-06f04698d5ab","f259947f52b9","4614d819ff52","f36cfc689b0c","7899238665bf","741d1b836056","43c53f844c68","64652c7cd7eb","41043242-0c9b-49fc-a89c-13ca366a4125","13e9b16a3893","2df22728-c279-4045-8c91-a2a70741ddf8","534c6384379c","091370debd91","bb127e19b165","dff85f402c02","986e372edfd8","fruit-that-falls-from-a-tree","2022-07-25T09:41:43Z","2eecacf4-2805-4abf-be91-8f312c295d1c","U6xBk00tKpbFWHZN6KQTQY","2022-11-30T12:14:11Z","d48993f54c36","8a6936f3bea5","69947865fc8e","5ded84efcc90",", 2021","53cbb6c492e9","0b7d78298742","4af6c3d07d6d","file-27c9c3032871b0a24aee3c1d43782d9192567c36-pdf","image-3d54b415bb7c3701da0683d1c1cf3d2b1470c882-2982x1128-png","6CjOAAzzRJ2HIFqj0sJPv5","DNR.@[RRxZt6n%~ot6afoLRj",2.643617021276596,1128,2982,"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAHCAYAAAAIy204AAAACXBIWXMAABYlAAAWJQFJUiTwAAABhklEQVQokV3Oy27aYBBAYd7\u002FLapumqDQAA0BJQKDwVzaNLRqKCYJd4JtjPHdYBydyr+z6uLTjGZxNLnQkInMNienyzkYkETfSaIf2QwHH\u002FqZaMD78X\u002F9TNQTcoHRIjRljrZC7PeIgz5xMCD2+4SHNs6uiWNIuGaTyOlwFuFMHPY4eh1OvkISdT+CehPPkPB2LXxLJji0BX8vY67vWE7KLNQSm2kFS6sT2h0iV+HoKfi2jKXXcU2JOFB4j7rkfL2Bpzdw9AauCDcFV29gbe7RZhW204qIp18GdpvQyaLp7qa3Q4tzoJCEaVCrY7\u002Fds1vWMBY1dkJVMNPbvIo2vxXBg1bnoDewDQlnJ2Eb6V4nsFqc\u002FQ5J0CHnrO\u002FYTMqMHy8ZPXxh\u002FPMC9fGCl195Zn+umI8KTJ+umD4VmP39ymJSYvVSFhZqkaVaxFzXONktElcmt5\u002Ff8jzM89D+xLD7WQSfh5e8\u002Fs6zGBVYqdfCcnzNelJiO71hO6vw9vqNlVoU9qsqR0vibEv8A4zY9OQOFjmlAAAAAElFTkSuQmCC","#534c2a","#4c4c1c","#d4d4ac","#94845c","#baba44","Screenshot 2022-07-25 at 11.40.51.png","images\u002Fhh000x49\u002Fproduction\u002F3d54b415bb7c3701da0683d1c1cf3d2b1470c882-2982x1128.png",764689,"9xPrY1kfMlb6wW6ILUUBaz7tXCg7xVLm","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F3d54b415bb7c3701da0683d1c1cf3d2b1470c882-2982x1128.png","1dc6ee40f5a5","56d3a3a3a482","485e9107e4d10","The downloadable PDF is part of the appendix pages of the book “Criminal Prosecution and the Capital Punishment of Animals\" by E.P. Evans published in 1906. ","3b3b1269ead0","b505360f3bd0"," includes descriptions of source material and an extensive list of documented trials of animals from 800–1906 AD.","c8bcc74241d2","6ae327ad600b0","The slideshow below features collaged Xerox transfers created by Alexis Kyle Mitchell and Sharlene Bamboat to represent each letter of Evans’ lengthy inventory. In lieu of visual source material documenting the trials, the artists offer these images.","b542d40d9149","464c864311cc","A","image-33349b839728b47ac85b5895f65d3e575da6e56b-3256x2068-jpg","ad5907aff3b0","ba6da460b5cc0","number","1871af7887d1","de6bd8ade2af0","At the top of the image, text reads. A Testimoniales et Reassumptum.” At the bottom left, there is a paragraph in Latin titled “Alia Continuatio.” Above it is an illustration of a strange creature. It stands upright on two legs and has a face like a human, but is covered in scales down its torso and over the large protrusion on the top of its head. It wears a cape. On the right of the image is a square with two bees, which are repeatedly overlaid across the image.","a92ad9194b4e","B","image-d45279a62ab610ee60b21d35cae1254b4b43f272-906x1280-jpg","2ee1c0a20da3","75db5b6379040","A page from a book, titled in extravagant letters, “Thesaurus: Exorcismorum atque coniurationum terribilium.” Below is an italicised paragraph in Latin. Below that is an illustration of two men grasping the arms of another person, appearing to tear the person apart. The room is full of other people. Below is more Latin text, and a small illustration in the bottom right corner of a horned human-like creature.","f9773a18c467","C","image-393976f021650701e3af4f42294bd1c4e7cf95dc-3507x2481-jpg","cb567040e4c7","976bb767c75f0","At the top left of the image is three storey building with many arching windows. The top right and bottom left of the image have a repeating motif of a small cat-like creature, shown from the side, kneeling. It has a grimace on its face. The bottom right of the image has three castle towers, each with two windows at the front. On the top of each tower is a cloaked figure. Overlaid over the entire image is a the title page of a book. The text is in German. The date of publication is 1821.","2a
3275be0f5450","D","image-bf91f10742171dee3608390a250503d892fcd880-976x1280-jpg","ee725f482a22","65d162c693210","Centre-left is the text “Historiae Ecclesiasticae Novi Testamenti. Tomus IX, seculi XVI” written in large serif font. It is overlaid on two illustrations of buildings. The illustration at the top is a cathedral, the one on the bottom is a modern building. Illustrations of serpentine dragons with snake-like tongues move across the page from right to left.","7cd2776d1553","E","image-30ab2e48be21e39cdfdb9045fdcb58787b94a94e-906x1280-jpg","67e2799e1421","b7b20560ec430","At the bottom of the page is a city-scape shown from above, with rows of houses laid out in a grid. A cathedral is prominent in the foreground. Layered on top in the left corner are three coins, the one at the front showing figures of two people. To the right, an image of a bird is overlaid on the sky, near the steeple of the church.","181504aea6e5","F1","image-379cf9f2da7f6d786b4e9995e26eae476d89ee4a-906x1280-jpg","c6d796af0220","742bea5920380","A stained glass window showing two bearded figures, both wearing robes and with halos. The figure on the left is holding a book and a staff in his arms. There is a crane at his feet. The figure on the right holds up a model building and a staff. Below the two figures are framed vignettes with many people, too small to make out in detail.","e1393e1026c5","F2","image-9079ad70d41124fd60937f077619e9ffd90c6191-1280x906-jpg","9f2bd8ab6a77","44d8c322c74c0","Six pages of an appendix collaged over one another. The text is in English. The columns of the appendix are ‘sources of information’, ‘dates’, ‘animals’ and ‘places’. The animals include moles, locusts, serpents, insects, and termites. The dates range from 824-1713. Most of the place names are obscured.","866c92bd8d02","G","image-3a7b448347ee7023fc8ac75eb54e7691ce46c18f-1280x906-jpg","703a1ec6389b","7b49caff1fa80","A collage of images. On the top third of the page is a letter written in scrawling text, the words difficult to make out. On the bottom left, a pair of gloves is overlaid on a coin. To the right is an image of a crowd of people gathered around in an arena, but what they are watching is cut off. Inside the arena is a man with a sword.","2592b0ae9b7a","H","image-dad1d741554ba34428a655cdbb8539e4529e0196-3507x2481-jpg","e4f97bd6b1fc","9d154857e51d0","At the top of the image is the text “In modern French pendard means hang-dog. M. Lejeune states that he can recall no other instance of its use as synonymous with bourreau or hangman. Perhaps a facetious clerk may have deemed it applicable to a person whose office was in the present case that of a hang-pig.” Below the text is an image of a blueprint, an illustration of a group of people gathered around, witnessing a hanging of a small creature with a cat-like face. This image has the caption that has been worn away in the middle: “a cat hung up in … habited like a Priest.”","d7d8d2cf153c","image-d80d2225e8b3ad1cf28ddeb868b87dea843b1475-906x1280-jpg","2f3f4b60c273","413253f4929c0","At the top of the image is an illustration of a man pulling a rope attached to a turbine. There are coils of rope on the ground next to him and hung on pegs beside him. Below and overlaid on the illustration are two coins, a back and a front view. On one side, the coin sais “Louis XI Denier Paris 1467.” Above and below are faint, incomplete images of the same coin. At the bottom of the image is a donkey cart.","e38e172a6187","J","image-65cc518597fe2d3d042e6b09112ba4ba54f0a60b-1280x906-jpg","966d365a64ea","c8b8a8bf69d00","Two horizontal illustrations atop one another. The top is a depiction of a circular castle with an inner courtyard. The castle is surrounded by land that is split up into fields, with a river running through it. Around the fields runs a line with different shapes spaced around it—stars, triangles and diamonds. The bottom image is the roof of a large hall, with a rectangular skylight and columns holding up the domed roof. To the right of these two images is a small diagram of a cross 
32section of an underground room.","1696b971867e","K","image-21a3ced4f5833399c4931be9694424a366f26413-906x1280-jpg","de29c0841172","e0d88e93b0b50","A close view of the front of the Palais des Archives. Six tall windows are flanked by statues of guardes. There is a slash through the image. Collaged below the top windows is a rectangular illustration of a farm scene, with animals running amok and feasting on humans. In the foreground, a boar eats from a trough with a man inside.","92b0198088c3","M","image-d47eaf142f25d1072fc0d374ff8707841635d4b8-1280x906-jpg","152772f0a950","214d0e8d78590","A modern photograph of a group of people, all wearing white robes, and holding animals, is collaged into a frame of mediaeval marginalia. In the photo, one person strokes the head of a pony, another holds a white goose, and another holds the reins of a horse.","aa6e4ae12902","N","image-5e3d58a8d662830b5d32b5b846396adc62715b6e-906x1280-jpg","13ba1bf57c5b","0c3bb703709e0","Text on a white background. “[The complete record of this trial contains the minutest details of the proceedings, ending with the execution of the pig, and was taken from the archives of Abbey Josaphat at the time of the Revolution by M. B., Secretary-general of the department. Since then it has disappeared; but this copy of the original, made at the time, is declared by M. Lejeune to be perfectly exact. Vide Mémoires, cit., pp. 434-5.]”","886aa0c7a015","O","image-d1b4301edd6fee164428d6f9be2239f99f81c4b8-1280x906-jpg","0fd4c201ea9d","c18308b48f190","The image is dominated by a photo of a woman’s head, with thick black curls and a severe expression. She is in front of a concrete building with man windows. Two roosters with hooked dragon tails and angry expressions are collaged on the bottom left corner, their wings raised threateningly. At the top left corner is a paragraph in French titled “Avertissements.”","f3b05c5c0dcd","P","image-25fc3c2f5026729f205d7da53d7b2fad37d47cc6-906x1280-jpg","1144215627c3","5dd6564c94ef0","A map is overlaid with an illustration of eight figures holding hands in a circle and dancing. The figures are humanoid but have the heads of goats. The way the images are overlaid makes it difficult to see either the map or the figures clearly","62d18c188a7f","Q","image-cdd82cc3bb644ea93f1aa36de0628726e0275b1c-1280x906-jpg","2dc210614462","bce6e84707b90","Two images side by side: on the left, a framed mediaeval-style illustration of a man holding a shield. In front of him is a hooved creature with a horse’s mane and large curving horns standing in front of a tree. Lines are attached from the creature’s anus to the man’s shield. On the right, a framed image of a knight in armour holding an axe up, while piercing a bull with a spear. Under both images is a photograph of a stone house seen from afar.","1cbf0067540b","R","image-120e1627fa2fd3209a7c22cb7de471027d39346d-1280x906-jpg","6cdb6cf0686b","b5c1f434db020","On the left side, the title page of “Les Plaideurs Comedies” is overlaid on an illustration of four gentlemen in extravagant clothing, sitting and standing in a parlour. Most of the text on the title page is obscured by the image, except the text at the bottom, “Acte Premier, Scene Premiere.” On the right is a page from a script titled “The Litigants.”","229b0e6ab018","S","image-7d42a3299954edcbe66491620cb86840697e3f7f-906x1280-jpg","21cacbf57975","87bf814bdbd70","The image is composed of three smaller images. The first is a line drawing of a coin. Around the coin are the words “alma mater, lipsiensis”. The coin has an image of two figures dressed in robes with halos, one holds a book and the other holds a dove. There is a church in the background. The second image is an illustration of a person milking a cow. The third image is of a hut situated at the top of a tall hill, with a path winding through the surrounding woods and up the hill to the hut.","831cda3898fd","9b7f5c239454","A chronological list of excommunications and prosecutions of animals from the 9th to the 19th century","dbae6df68410","9fdae2417e64","9bda49a6f875","2d19af557508","a7bb64bf-74f7-4cc7-90ab-37d06c7edb30","ea41379a310b","1b199a946793","bfa0620a86c3","0eae33cf7617","e1c083cb3c0a","4fbf7d815a63","fbf8e6dd72c9","56b08c2faff4","a30ca3b5-b73a-4d5d-bfa8-4ee91d7c8be1","2d7f2fc7e252","1508869d3916","d2b16c238329","220701c88272","6ba33d2c0887","fb3649c94ff2","982fe6305261","49562450d6e3","0288dbc063e2","b709a7ef6a78","4138a41e60b9","26d0bf653a50","a67cdb57-5710-4cd9-98ef-ebe5eb289d49","appendix","2022-10-13T22:03:54Z","4lb41RY4oyjdIXp35uDDTb","2022-12-04T18:05:15Z","3 boats drawn in blue pen on a wooden floor, with ripped cloth in the foreground.","A close up of battered wooden floorboards with three boats drawn in blue pen. The floorboards are weathered and worn - one of them is painted in chipped white paint. The boats are crudely drawn in unsteady lines, each one unique. A small motorboat sits above a sailboat, and to the left the hull of a larger ship is cut off by the frame. A piece of tattered cloth lies on the floor in the bottom left of the image, a string crossing over the bowsprit.","MFDSdz_4IoxuoMxuWYWCWCWBD%M_adofof",864,1536,"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAALCAYAAAB\u002FCa1DAAAACXBIWXMAAAsTAAALEwEAmpwYAAAC8UlEQVQokR2RW0\u002FbBgCF\u002FVNW7aEt28SgNy6
32FcSmDJDDShIQAMbk5jZPYMYnvduzcSBakQWmrqlvVbdJYN2nrw\u002F6gz5nKw3n8vu\u002FhCEqpAqVYhFYqoF0uoFMpQpdKsGoVuGoTgW4gNC0EpoWubsButaDXZbSkMmTxGKVsGkd7MSSWF7E8MwNBqVShliWcSRL02gsYcg3tqoSOVIbdaMBvd25FfkeHo53BaNShVStoFvKQDg8gJneRiW1he+ExFu7egxCaPYRGD34noKf7DO2AgenQaqq3889M+m2TjtqhXleoSRKbRZG1kxxLB0me\u002FBDnwfYm408XuT4\u002FR+H1Tzd4e\u002FknXl\u002Fe8M31Dd6\u002F+wvv3vyK82CIbsfCwAowtD9HPbiaAbOh4KwqQSmeonZyiEI6iVxiB8nNNSRWlyFcvfwbv7z9Bx9+\u002Fpe\u002Ff\u002FiEj3\u002F8x9\u002Fef+SkP+bQcTkNB7zoDTn2AvYMi26rRV2uUS0XWMsfsZB+zsP4DpOba4yvLFOYjF\u002FhcvoKV9OXvPrxEtcX17wYThmYNkeuw4tenxM\u002FYN806Wst2s0G2y+qbBZOWclmmNtNMLm5wfjTJT578ojCdDjGxWCESRDy3PMwcj0ObIehoXPk2Bz7PvumQ0\u002Fr0G6qNOp1alKFspin+DzN1NY2Eysr3HryiOsP5ihMewNMwz4m3S4mvodpEGAahjh3HQxsCyPXxcj1Eeo2HFWDLstQyyVIR8c42tvH\u002FvomdhYXsPFgDquz30AYez7OP0O2zaFlceQ47JsWLUWl0VTYMy1OugGHjkdPa1OXZSqlIkvZLLPxOPe+W+XW44dcnf2aC\u002FfvUpj4XZw7Lnq6DrupQJNqqIkVnGbyKGbzUErS7bO2qsJoNKBVq6iJIsR0Cumd7xFfWcLGwzksfXUf81\u002FegTD2g2hg25HVVKJK7iTKJFJROnYQpWKZKBVLR9ndg+h4Px0VM5lIFvORLIpRKZuNcnu7UfLZRrS9tBCtzc9GizP3om\u002FvfBH9D0pv5zZ2QDYGAAAAAElFTkSuQmCC","#54442c","#3c3a4a","#aaa7ba",5.57,"#b7b4c4","#74708e","02_Jeanne Penjan Lassus and Shahana Rajani_The River in the Sea.png","images\u002Fhh000x49\u002Fproduction\u002F5ec521a0f24ad1f237b60ae790dae5344289b372-1536x864.png",2455703,"Jeanne Penjun Lassus & Shahana Rajani: The Sea in the River, 2022.","WdFPTf1gAYIYK2bIAIcYlpb65RnU5HON","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F5ec521a0f24ad1f237b60ae790dae5344289b372-1536x864.png","2023-08-23T18:16:50Z","e9f95179-17a9-488f-976f-8d49bb6b2ee7","5bLx9gxPXYFT2jXTbRAtOI","2023-09-04T09:10:20Z","A film by Ohan Breiding and Shoghig Halajian","The Rebel Body ","2019, 30 minutes.","9f8d895629f0","c515ae101e5d","image-b04292d82a152761b383e2470b00c38c840b2071-1440x1080-jpg","f3d4d69c664e","image-6b767ad0906e8da91a7154a6bdaaa4cbc9203bd4-1440x1080-jpg","5835fd26a13a","4612ec4458cd","Film still from ","ae0a6499ee66","c8187fcbf66a","This synopsis is an accompaniment to ",", a film screening; on view in the "," September 5-30, 2023.","ba2dc6916c85","ce5120212e2c0","ce5120212e2c1","1bc868b4b5b3"," is screening with support from Bamboat | Mitchell, and the Canada Council for the Arts. \n\nFilm Credits\nEditor: Katrin Ebersohn\u2028\nSound Design and Mix: Katrin Ebersohn \nComposer: Carolyn Pennypacker Riggs","a4e278733ede","5fb808bc37fe","e728396f3865","44033461cf96","a0b388c0bf98","44873053e0a2","5f4b4bca84a0","bea6f90d-58b0-4ccf-9fc0-a63b2329cdbd","32264d97ade3","8fb5a798971a","fca02459dad1","rebel-body","about","Background","da487469024e","4ef4b0c8cc20","Other Means","b8e58ee3bab6","32e689df9df4","8d77b2fb-0f1e-4576-8fe2-14e5d5fa68b5","760a1b760938","10ef0cf23457","Antoinette Burton","a48f47971223","6c9697e333ab","5bcb30d6875e","58b8548e4772","b08270d70ec6","Jeanne Penjan Lassus","46d565d64b9f","Ohan Breiding","813535ea7379","aa7fbd300dc3","1875924f76e5","4021919463b5","b28723fcd79a","6d969c30e461","Shahana Rajani","48feccfd482e","e46d104aa91c","ee711b790e91","b838acd33025","a2f90a5d54bc","    ","168e15651753","https:\u002F\u002Fnative-land.ca\u002F","globals","2022-07-23T16:08:03Z","e2b55fd1-c02f-45b4-8d34-5fce01c1d5db","zkgRwy97J8kHh1JhnC9C5n","2022-12-15T17:07:14Z","c2380068b789","6e7c2122f024","Emilia Beatriz: ","8db31f565bdb","d80ba2350ed8","1d5ef1ecb89d","c085f621cb78","file-c20c62bf3525f47d317cdc8652b733f2cbb30802-pdf","Before Law—Emilia Beatriz: A Crossing (1698\u002F2003)","54fe6cdd9cd3","file-5e6dcb6df75837ee6a1503dc2b5432650570f79c-pdf","A Crossing (1698\u002F2003)--Visual Description and Text Transcript","2022-10-28T19:03:04Z","4lb41RY4oyjdIXp35jQpiB","2022-12-03T23:22:52Z","The image is divided into 3. In one a grey rock floats in front of a shimmering background. The second is many bees sitting atop a honeycomb. And the final is black screen with the open caption reading: soft sparking chimes.","MPBCGMs.NHR+WB}?oLR+R,WBt7WBoJWXjZ",1.855,3339,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAALABQDASIAAhEBAxEB\u002F8QAFwAAAwEAAAAAAAAAAAAAAAAAAAYHAv\u002FEACAQAAEEAQQDAAAAAAAAAAAAAAEAAgMEEQUGEjETIkH\u002FxAAWAQEBAQAAAAAAAAAAAAAAAAAEAQL\u002FxAAbEQACAwADAAAAAAAAAAAAAAAAAQIEFAMxQf\u002FaAAwDAQACEQMRAD8Aluk750ysyFjy8cHZJA7Wbu9aDtRmmbanMbh6tacYUoQiKnBdNinbm\u002FEPtneHllJbam49DI+ISEhay8ZNUz\u002F\u002F2Q==","#644133",2.15,"#849cc4","#eed0ae","#b28864",.53,"#a6600c",.66,"Emilia - image.jpg","images\u002Fhh000x49\u002Fproduction\u002F557fce0454f1be6f7205df7fccddb0e1d2cc3235-3339x1800.jpg",948158,"37Yy6rFyPiVp959N8ZuhbmlLkSci3FF0","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F557fce0454f1be6f7205df7fccddb0e1d2cc3235-3339x1800.jpg","3b656e634c09","60c35edde85e","1eb49770b0060","A CROSSING (1698\u002F2003)","c38a05199d69"," tells a story woven from speculative visioning & historical accounts–spanning from present day to 1698–of Scotland’s attempt to colonise the Caribbean Gulf of Darién, and Crabb Island (the colonial British name for Bieke \u002F Vieques \u002F La Isla Nena, part of the archipelago of present day Puerto Rico).","b3e25a041b4b","babe9997213c0","The textual narrative is combined with images, sounds and storylines bearing witness to more recent narratives from Vieques as well as from the northwest coast of Scotland on and near Cape Wrath, where military occupations, and local resistance implicate these distinct geographies.","ffebdad4e42f","7f033eb7b76d0","This film is part of a larger body of work that addresses entangled histories of bodies, land and resistance, and seeks to engage griefwork attuned to climate and place.","eb5e341b13ba","08e749cdb0f0","bad093f21069","2f8fc8078a4d","Screening\u002FAccess Note: ","f9b95bcfd3c8","The use of headphones or speakers with bass capacity is recommended. The video and on-screen text are best viewed on a laptop computer or larger screen. ","bb290f5b977c","140018ff076c","09c3854ab5ac","9c8e352eb344","7902b88dd31c0","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F763451923\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=d2258921614ed6533d48172e60d830e6d84fd1c426f8bfca894a045d2aa58fcb","b64d9d50f885","5a9506c36f7c","a80e13d15a9f","COLLABORATORS","cf0e023be375","722eb17f1d400","Kiera Coward Deyell ","1aadb9adb892","(she\u002Fthey) is a creative practitioner born and based in London. Their work spans Sound Design, Sound Engineering & various forms of production. Seeking contextualization through the communities she is in service to, Kiera addresses the tensions of being seen\u002Funseen in an ever more extractive world. They are a member of Black Obsidian Sound System (B.O.S.S.), and Tanum Sound System.","070d7b6d4bf8","dacba2fc416c","1ede817bc80e","6de105ac61510","Andrés Nieves","983325989aa8"," (he\u002Fhim) is a Puerto Rican filmmaker who began his career as a cinematographer in the early 1970s. He studied filmmaking in New York and worked as a cameraman, editor and negative cutter for North American, Puerto Rican, Colombian and Iranian film productions. After many years working in the film industry, he moved to the Island of Vieques. There, he joined the people of Vieques in their great fight to stop the polluting military practices of the US Navy, which ultimately succeeded in 2003. He produced an extensive collection of video documentaries on the Vieques struggle, as well as two feature films. He currently lives and works in Vieques, and his film collection is currently being digitized by the Vieques Historical Archive.","0fe70fabdacc","6f7f812dd5cc","NOTES ON ARCHIVAL FOOTAGE","9095222017a9","aff69ee4a21f","Sharing thoughts on the archival video (digitised Hi8) featured in this work, Andrés Nieves writes:\n","d2589e61f89d","\nPlaya Ismael Mameluco","b0face3abe1d"," (Beach, Ismael protection suit) is the raw footage of a visit-entrance to the shooting range in Vieques, by a group of volunteer fighters who went to document the disaster caused by the Military practices. We were dressed in special suits (Mamelucos) to protect ourselves from the contaminated dust in the area. Our group; Ismael Guadalupe, Tin Cintrón, and Andrés Nieves (Me) along with other colleagues, were very determined to expose to the world what was happening in Vieques.\n\n","680509e909a8","Vuelo Zona Impacto","6ad239d0daf4"," (Flight to the impact zone) is raw footage showing the extensive contamination on the Island of Vieques, in the impact zone, where the US Navy carried out its deadly military practices. Something curious and surprising was to see from the plane we had rented, the raising of cattle; the contaminated beef was then transported and sold to supermarkets and residents of the Eastern zone on the main island of Puerto Rico.","cca53e70a6bc","69dda94b6cba","38370c8fa10f","53acec500b6f","CREDITS & ACKNOWLEDGMENTS","df49bc137d30","d528946c0d23","Director:","85b52ddef54e","7488fc7ca59c","Emilia Beatriz\nSound Design:","4f22bf632224","bd164f58b0ff","Kiera Coward-Deyell\
32nArchival Footage: Andrés Nieves \u002F Cine Vieques\nAnimation: Sharif Elsabagh\nSound Descriptions: Collective Text with Bea Webster","59b049da1672","a4d98f2d6e97","This work is an excerpted adaptation of","ac3830a2413c","8437ace85cc0","a forecast, a crossing, a haunting, a visitation,","bb3d8a663d8a"," commissioned by the Centre for Contemporary Art, Glasgow, 2019. ","76106eedbe1b","13eb617f23ee","Thanks to Cine Vieques; Robert Rabin & Archivo Histórico de Vieques; Gabriela Ponce and the crabs;  Jorge Cora; Ana Elisa Pérez Quintero and the bees; Donald Mitchell; Camara Taylor; Scottish Campaign for Nuclear Disarmament; Scottish Collections at Mitchell Library; Beatriz Santiago Muñoz y lxs participantes de los seminarios itinerantes; Sofía Gallisá Muriente; Ainslie Roddick; Hope Scott Trust; Glasgow Visual Arts Makers Awards; Beta-Local.","da4eba2c7b60","664a1559e230","703b2820fedc","58f6daa7a54b","aac9ff88f770","Video, Digital film, Digitized Hi8 tapes with Audio ","94d19110cf2c","(English and Caribe Spanish; 10 minutes)","197b3514ea32","5e73b3536629","211b482439cb","(English; on-screen text and sound descriptions)","with Kiera Coward-Deyell (Sound Design) and Andrés Nieves (Archival Footage)","668f11d6bdec","741579e0fa3d","4c80990a641e","87f2d5b0d3ac","e8ca9a98fe4a","cdd8d52e3443","2c8b2cde-46a5-4915-8d16-bf5f8b876e19","b72e8ac42e27","f9f7e5cf258c","3c7e205e712d","6d5a32fa85c3","0a4907cf-6dab-4867-907c-6b8a1d255d76","3f6c9741e7bf","7be8e05c-2d63-4be7-91b5-e62833ea55c5","5f0dbeb7864e","74f816bc2f9a","707bb80a6884","5eca0c388aff","3403a0054340","6027635069df","a-crossing","2022-07-23T11:51:20Z","image-af3bdacae7f45508e7c09d293ee08934301a8abe-1107x1840-jpg","af3bdacae7f45508e7c09d293ee08934301a8abe","#c0c0c0",2.9,"Untitled (Ass)","0bad055df58c","ca5b43ebd6e6","ef5aba12844f","cbeb873832a1","66da06864a9c","98c955aed1b7",358.1818181818182,"Metamorphoses","Metamorphosen","40488446e105","0a8bedc89b7d","Physiognomische Fragmente","5b9d6aa6c63b","Onos Lyras","”","7f8966cd5b52","https:\u002F\u002Fwww.flickr.com\u002Fphotos\u002F43071850@N00\u002F147758846","9f3e2ed90679","Untitled (DeWoozles)",", 2021. Digital print, variable size.",", 2021. Digitaldruck, Maße variabel.","Amoris Divini Emblemata Studio Et Aere Othonis Vaenii Concinnata","https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FApophatic_theology#\u002Fmedia\u002FFile:Emblem_-_Oculus_Non_Vidit.jpg","fe8c5ef1b1d8","Untitled (donkey legs \u002F front hoofs)","See Jutta Person, ","Esel: Ein Portrait ","(Donkey: A Portrait) (Berlin: 2013).","Onos Lyras: Der Esel mit der Leier","CRAZY DONKEY SOUND! | Top 5 Donkey Sounds",", ","49358d2cc640","Otto Keller, ","Apuleius, ","0b37822e275f","The Enchanted Places: A Childhood Memoir","Once on a Time","Rick Reinert (Prod.), ",", 1844.","Julia Kristeva, ","Uta Störmer-Caysa, ","Einführung in die mittelalterliche Mystik","A.A. Milne, ","The House at Pooh Corner","Vgl. Jutta Person, ","Esel. Ein Portrait",", Berlin 2013.","f0cd49e91d2f","8993bf81a640","https:\u002F\u002Fwww.fischerverlage.de\u002Fbuch\u002Fapuleius-der-goldene-esel-9783104012025","ac48ed846b50","2021","2022-07-25T09:29:34Z","86df1db9-09e8-425f-8e74-5f431ff799de","R3duqbX74eHa6ck7CUZ0Az","2022-12-08T00:38:33Z","9339b610bce6","b9f6840f6a16","82fda09b4c4b","34d65e457ea3",", 2015\u002F2022. ","ecc8477a4299","a3d403c89c87010a4f234f6d002687dcc823fd46","#bfb4b4",6.73,"172126ed36e2","cec09d5d2960","0354820c09ab0","Empire Symbol, Or A Man and his Mule,","0354820c09ab1"," traces the journey of a Canadian veterinarian who was responsible for transporting mules from New York to Karachi, India during WWII. Employing his diary entries, Sharlene Bamboat & Alexis Mitchell unearth both the psychic life of The Vet, as well the histories of Canadian Militarism that are embedded within mundane processes of global trade and transport.","8a810eb7dc93","dfbb37b9a02c","bdc645360999","dbfb7c29d2f1","de622a0743c3","[Original]","0e55e7423dd5","387e8951d812","d4bbfee1f0d8","c400f7ccd0e4",", 2015.","d738b2ec4eab","cdcee7b0b5160","1c0f55fd8498","a824deadb15e","9ac6698bb726","e336549ab36b0","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F765900076\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=40335b4435ee074015881e935332ab7782e95eabc6c68b206c414f48f7f7aa57","b9d464216206","image-33582602af8e5ec6fab0b008e916f8203f1ab100-5120x2880-png","e6bfe534fb15","20a4b8ca0f2c","[Original with Audio Description]","afed965e22eb","b973a73b2766","55f9ab20550d","db9fc3aaa9cb","27cd5e2400df","826923849792","64bf57b5f8f7","cb50785227f50","b79edca4152e","50d5e9b625aa0","3 pieces of paper cut-outs of different donkeys sit atop a cream coloured background. One of them has a blue background with green toy soldiers leading a donkey; the second a brown donkey staring at the screen with its lips wide open, and the third is a hand-drawn donkey pulling a cart with the word ‘Tonga’ underneath. Text appears on the bottom left of the screen: A Mule is the offspring of a male donkey and a female mare. Most mules are sterile. Sterile hybrids are not species in their own right.","ee23068f25cd","fbb8742f86620","https:\u002F\u002Fplayer.vimeo.com\u002Fprogressive_redirect\u002Fplayback\u002F765906885\u002Frendition\u002F1080p\u002Ffile.mp4?loc=external&signature=842b1008e90e8bb129614e1fd10bde569c2eee9ea332956ac166cb60fa13ed39","33a85310a304","4772d2984981","b554dc37870f"," \\","21851ac65c59","246a39f4d992","46edd20490960","This project is commissioned by Sara Matthews at the Department of Global Studies and the Centre for Memory and Testimony Studies at Wilfrid Laurier University, Waterloo; and Dina Georgis at the Canadian Network for Psychoanalysis.\nAudio Description by Jennifer Brethour.","5183b83ba69e","2015\u002F2022","2f851f7aca2b","abd77fac0de4","be107bfea172","(English; 18 minutes)","c086243c5bc3","77d68c51baa7","Audio Description ","63c8dd6e7a05","84883f72783d","16e0c04e663a","b335e0182afd","481e56172116","6703d3a845ba","b8ac696920bd","b6d3077b
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Inside it, the face of a white horse is cropped, tight and confined to the border encircling it.","95c3fd6ba994","02b9ff237dc7","f81ac48492cf","9887d51bbe54","3. An obtuse triangular shape with curved edges houses a video of the legs of a camel wearing a ceremonial garland standing next to a blac and white cow. They are both surrounded by people in white robes who are about to bless them at an altar. To the bottom left of the triangle is a semi-circle. Inside it is a video of the hooves of the cow standing next to the camel in the triangle.","b03aa8aace6b","fefed4ec19ff","4f4b9bb81ef2","28fd60810c86","4. A circle with a ram inside of it stands among people in white ceremonial robes. Below it a rotating cube with a video sideways showing people walking a bird to the altar as onlookers watch in amazement.","d0c80601d405","a1b577bbbda8","9308aff50284","02e9278d3550","5. There is a still image of a woman in white robes holding an owl up in the air as it tries to flee her grip. The image is encased in an abstract shape that loosely mirrors the outline of a violin. The image repeatedly shudders and shakes with a yellow light flare conjuring thunder.","136707149eec","9289e10e1f6a","577c7931dd89","4c2b68869882","6. There is a long horizontal cutout of an audie
32nce stretching across the bottom of the web page, it is in black and white. Text bubbles in shades of yellow, orange and green, appear on top of the cutout, with descriptors indicating size and shape, like “giant” and “very small”. The text bubbles travel from right to left across the image of the audience and then quickly reverse back. The entire composition disappears briefly from the screen before reappearing and beginning again on loop.  Below it there is a 2D cutout of a large tan coloured turtle floating. It rotates very slowly along its x and y axis, warping at different perspectives and then returning for moments to its original rendering.","258406457958","ebaf09d24d1f","87626a55e2fd","07b690862717","7. Two circles float on a while background, one bigger than the other. They both contain the same moving image of a person walking in ceremonial white robes with a crowd of onlookers waiting in anticipation for what is to come. The images are blurry and have an effect as if we are looking at it through water.","bbbc0d92f4d1","2003633359a3","da3080996c40","39ee75bf836e","569b985950b2","91c3a9f60b90","bcec4cce07ab"," by Bamboat | Mitchell. Audio Description by Ama Codjoe Visualized by Rupali Morazaria","d8aa2432b17b","ed33fff52f09","The original footage for ","60658ab2594d","92b93cd4fccb"," was filmed at the Cathedral Church of St.John the Divine, New York (October 4, 2018.) Camera: Lauryn Siegel.","1c89b1a7ee19","1578241c98b7","dd8050b0e2fe","d3219919aa4a","(English; 5 minutes)","5adb851d5076","3874f84cce8e","Videos ","d8ddee70e1d6","(Silent; Looped)","Ama Codjoe (voice) and Rupali Morzaria (graphics)","ef1d055374a8","5e6105702c6d","73ee6ec12f14","d3fc075ef4cc","7d4f5a200d0a","42ef514401e6","56bc94ab2f8f","a1ffd916-0a7f-4c5c-a2c1-19dd68c8b863","c1bd7caf3ca1","257e0137b6d9","2842668c-c7e3-4d5c-a37f-6078cccd4c6f","f5c74c6efbdf","fd5ee811f008","6b0ab1ff-a243-40ba-8b01-2046c79abff7","574035c051e8","c6a0dec03ec7","80a027e8fa49","6210c7f6a27c","f675ad1d64a5","c67f7a7e479e","1381d1f38f4d","32abfe640ab1","eb5417e5-a1c8-429b-aad3-a6bb79104ad1","cf402ae25769","feast-of-st-francis","2022-10-09T15:57:11Z","ba6f7a57-7e11-44ca-9512-4a168f107036","hJiy3OKSdsk0kMU4S4fgyz","2022-12-05T00:48:59Z","2d5122a633ea","8889afcb7745","168c8371a492","Bestiary, An interview with Antoinette Burton and Renisa Mawani","4e3a5bac4f5f","41238d12d9be","de5d93859bef","2cbf1907ad56","7c1f56566b1e","file-92eb97c98cb9f4c1b4781bef369eaebfc1cfd34d-pdf","Before Law—Antoinette Burton and Renisa Mawani: Bestiary, a conversation","2022-10-10T15:44:13Z","image-e32e3267538b549f008d21ae76b5d59730fce83c-600x900-jpg","VRUOhOkk5WtCrXQxYXJ9Xz","2022-11-23T18:05:46Z","A book cover titled Animalia. A Giant A in the centre is flanked by red and dark blue abstract patterns on either side.","A book cover titled Animalia. The title is in white capital serif letters, just above the centre of the page. There is a large black letter A that splits up the cover into four sections, one on either side of the A, and two inside the letter form. Each section has a different abstract pattern in a dark spot colour. The subtitle “An Anti-Imperial Bestiary for Our Times.” is in green italics under the title. Near the bottom of the cover is the text “Antoinette Burton & Renisa Mawani, Editors.”","d36@H2{eVyJ6]=+cSNJ+iIxFS}K5IAjuS}S#s;n%WUW:",.6666666666666666,900,600,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAeABQDASIAAhEBAxEB\u002F8QAGgAAAgIDAAAAAAAAAAAAAAAAAAQCAwEFCP\u002FEACMQAAICAQMDBQAAAAAAAAAAAAECAAMRBCExEhNBBSNRYZH\u002FxAAWAQEBAQAAAAAAAAAAAAAAAAAFBAP\u002FxAAeEQACAgICAwAAAAAAAAAAAAAAAQIDESEEEhMxQf\u002FaAAwDAQACEQMRAD8A58pZVuHV8bGZpZl1BDHZ95dp30J06LfXY1oPKnxGr39PCq\u002FauVlweZjF9ZJinPuc0qvnsqCP5MI071WHq04YVkZAPMJWDGnprLIGBwZPqLsUsfb6EYX20AHAGIsbSHJwPyFeRybwJT28slRq+wnbIzg7QizgOxbHMJXG\u002FWyZ1rJ\u002F\u002F9k=","#522c34","#d7c5c3",1.14,"#f68393","#7e848c","#ee1030","animalia_renisa_mawani.jpg","
32images\u002Fhh000x49\u002Fproduction\u002Fe32e3267538b549f008d21ae76b5d59730fce83c-600x900.jpg",833398,"VT3FUU4EQ33szOCc7QqCKS5ZcjmeHpUR","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002Fe32e3267538b549f008d21ae76b5d59730fce83c-600x900.jpg","75b076e1d6cb","file-7c8102294b25780ae9e0013c66a923419de2a64d-m4a","3cbe338914d1","977e33b6c778","a0214e7b70580","Sharlene Bamboat & Alexis Kyle Mitchell converse with scholars Renisa Mawani and Antoinette Burton about their edited collection ","88b95ceede26","Animalia: An Anti-Imperial Bestiary for Our Times","65ea0f3efba3"," (2020) to discuss questions surrounding the aesthetic forms we use to contain non-human life, and the ways collaborative practices help to enliven them.","9bbe93faa158","8766068f01a0","6e6bbcee5357","cce8008a2588","audio","Antoinette Burton and Renisa Mawani","with Bamboat | Mitchell","4bfb4774474c","7d3a0ca422b9","ab5a6bfc8447","af42ba9ed33f","d0b0ca83e5b8","afec578cc96d","daf2fac77241","1e2088d2-6e94-4fec-a027-cb40ab4069ec","e358c8ca2fe6","69239e10dd22","f841aa0ace0d","083fccefccc0","6a1e3e492a39","e582f7ddf513","2f4574f66f5c","cc5a4bb8-ba84-4a44-89c4-daad70240f10","896dd3be8ad2","cbe7abe8-a883-4229-bd11-393ce8bebef7","324fe6b1040e","Bestiary","bestiary","2022-10-24T03:22:27Z","iSgKXTJvtDcspjnWAA5yys","2022-11-23T17:04:47Z","A dark blue lake in the centre surrounded by green trees.  A shadowy bird is in the foreground pecking at a bark. An enticing white fluffy cloud hangs in the distance.","MA8N,@%N009Fs:~q%MD%D%V@R*ayxat7Rj",1.834178131788559,2762,5066,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAALABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAYHBAX\u002FxAAjEAACAgIABQUAAAAAAAAAAAABAgMEAAUGBxEhIhIVMUFh\u002F8QAFQEBAQAAAAAAAAAAAAAAAAAAAgP\u002FxAAXEQADAQAAAAAAAAAAAAAAAAAAAREx\u002F9oADAMBAAIRAxEAPwCP8seI6GpmettKAswOeoZR5Kc7XHO31VqxG2t1sqRAdSG7DrktgZklQoSD+Y3XJpPb18z8ZKtqEVgu2bCyzM5X0k\u002FQwzFL3kJOGCAP\u002F9k=","#2c4c31","#0b3404","#bcbccc","#94f583","#32ec12","borblery2.jpg","images\u002Fhh000x49\u002Fproduction\u002F3e81a2aaf5cea179dce2735b0aa7b37da1ab479c-5066x2762.jpg",4272333,"mhnwclKlqzCJr494y8abwmNjEUpr9iGf","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F3e81a2aaf5cea179dce2735b0aa7b37da1ab479c-5066x2762.jpg","2022-10-05T00:37:52Z","NFtjU31LTbCB6OrxZmATsl","2022-11-09T13:46:22Z","Giant red circle in the foreground hovering over a desert, mountainous landscape. A small shadowed creature flies in front of the circle.","In the centre of the image, a giant red circle is overlaid over an image of the desert. The sun shines from the centre of the sky. To the right, a small shadowed creature flies below the sun, in front of the circle. In the foreground are sand dunes, which recede into distant mountains and a dull blue sky.","MUIp*jWX7KofV@~pj?S$fje-5SaywdjtsA",1.7809878844361604,2146,3822,"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAALCAYAAAB\u002FCa1DAAAACXBIWXMAABYlAAAWJQFJUiTwAAADGUlEQVQokR3Q71OTBQDA8edV111ZIDVQICJgeRA2RL2Ci+gA6QjRbsiBiNw8KCDWKEDdYshQBgO2sT08z\u002FY82x42B7LhoavUHd7Z0S+67rgsTEvT7vpLvp2++Lz9vvgKAXGWgOxFCi6yqARYVBUkVSWkBFgV3dyYc7DhtD1zY3aCq6KbeFghFtWIRjUiWoigIiOKC3i9cwhPg7LsRVYkAmEFVQsTjaikJA+bs+NsTY6w5fiCrckv+eXSKD+5L7CheFm\u002FHCK5ssSVeISYphBSRORFD0JQdBEKetG0AJfjYRLLGmlNZlt0ct9lZWdqhB3Xee7NWrk3fZYHc1b+kKbYjEl8m1jiWjJKYjlETJMJKT6EaMDFiuZjbSVIai3C7WSY36J+\u002FpWcPPHY+dtt53FgmifBGf5027k\u002FZ+OxOMnOkpfv1iLcXI+SSoRIxCRioQWEqORkNTzP9WWRW8kgP6zK\u002FBWe5z\u002FxIv947D
32xw23koTfFQdrLtsvHr1CiPvHYeqS5+XpFIJxRScYlE2ENMdiHMjlnwXxwlMm9n2T\u002FJ194Jtpzn+H1iiO1xM1tPTQw9+\u002Fj92CCbtgHuOizcdZ3jtm+Sq5KT+IIDdcaKzzGMcPaTDqx9nUwMnsZpMSEOmUh+1kn60zY2+tpID3SQNp8ibelmY6ibO5Yufhzq4s6wiYStD3WsH\u002F+IiZn+Vi6caUYwdx3HfLIZc1sjlhP1fNXeiK+9kbixjrXWOtY7PuR6dwupXiPf9Bq5ZTrGze6jrJpa8Pe2MH2mifH2GoabDXzeWIbwcc0BjO\u002Ft50R1KW1Vb3K6pgzLB2\u002FjqCrFc3gfgaq3UGsNqA2VhBsqCdVVsFh\u002FgEtNhxj5qJLBI+X01JRw8lAe7Qf3IhhyX+ZgfgbVhVm8X\u002FQKDftyOL4\u002Fj87SXAaKczhflIO9OBt7iQ6bXsdI6R76KwowvVNEx+HXMRpyOVqm44h+Nw36DIQ3XnoOfebzlOteoGLPLt4tyKS2+FUa9Nm0FOs4VaSjpyCLnoJMugp306rP5lh5Hi2G12gq20t9SRa1hRlU5++iKv9F\u002FgdELBEYsOPb9QAAAABJRU5ErkJggg==","#543c3c","#700905",.44,"#c7ad9a",.94,"#ae6d5a",4.37,"#a45e4d",4.98,"Screen Shot 2022-10-04 at 8.37.32 PM.png","images\u002Fhh000x49\u002Fproduction\u002F0155bb59a278acf3837532081643bc7842c22236-3822x2146.png",10250520,"Sukaina Kubba: Fruit that Falls from a Tree, 2022.","j0KDL2Pj9kbNuVSzxxXMbTxfYK5pBjaS","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F0155bb59a278acf3837532081643bc7842c22236-3822x2146.png","2022-07-23T16:14:35Z","0559ce9a-5ed7-4dda-9ae2-2254206fbe6c","U6xBk00tKpbFWHZN5gdeBO","2022-11-27T23:46:19Z","b9092c2163ed","af8fc932b3c3","Zoe Todd: ","38ad045de191","12eabda092f2","f578f0acb795","d016af556a4d","file-fb0e22b9e6c6e4ba0b5dfdeb5b307d294f46ce99-pdf","Before Law—Zoe Todd: River Dee","2022-10-05T03:43:03Z","NFtjU31LTbCB6OrxZcavZg","2022-11-08T18:25:28Z","watercolour painted horizontal stripes of different colours and sizes on a black background. In the centre are thin blue vertical lines.","This is a painting I did","V6F#]*$J00M}00F*w|oIj[ng00-VyFX7%iQR$$tSRmkY",1.3131613756613756,3024,3971,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAPABQDASIAAhEBAxEB\u002F8QAFwAAAwEAAAAAAAAAAAAAAAAAAAUGBP\u002FEACMQAAEDBAEEAwAAAAAAAAAAAAECAwUABAYRExIhQXEUFmH\u002FxAAVAQEBAAAAAAAAAAAAAAAAAAADAv\u002FEAB4RAAIBAwUAAAAAAAAAAAAAAAECAAMEEhETIUFC\u002F9oADAMBAAIRAxEAPwCPwvG4yUgLRx22ueYt7UpLYIPqmpwmAWo9YvQo9tC3AqQxbLbOOirVhU1I260I0UIb2lPqm\u002F3e32VN5JJA\u002FrFBuW4PNJouFU+xJTNcfso+aLNmHg1xpVpxPSd9\u002FFFZcqmESUp8hMhcXO0AcjiNHz2opgykaqpAk4N2Z\u002F\u002FZ","#062898",.16,"#b6bfc0",.51,"#e7d393",.81,"#8c8c54","#ed8808","1519c405-1076-402c-a30f-300b8cd2e0d5","Trouty #3.JP.jpg","images\u002Fhh000x49\u002Fproduction\u002F44515f6b8395e7a3c7f5a3095eec14908315b518-3971x3024.jpg",2685302,"Zoe Todd: River Dee, 2022.","fYycE2cxoaoUW78No9OdfnfJl6H3ubM9","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F44515f6b8395e7a3c7f5a3095eec14908315b518-3971x3024.jpg","d051ace2552b","2b4e15cb6afa","d3cd64cd3e15","46aac1703124"," is a lyrical and art-historical examination of the linkages (and divergences) between human–fish relations in the waterways of Aberdeen, Scotland and Edmonton, Alberta. This work explores the lives and experiences of the waters and fish in the European medieval period and the pre-capitalist, social and economic system that ultimately shaped Aberdeen’s fishing industry.","f7a9f165b363","dcd1be2f1d0d","Drawing on their time growing up in Edmonton, and studying at the University of Aberdeen from 2010-2014, Todd explores the presences and absences of fish (and fish-related economies) in both places, imagining how fish wove their way into each place over the centuries immediately preceding Euro-colonial expansion\u002Fconquest\u002Fgenocide in the Americas. This work re-invokes Todd’s speculative ","e16413090e7e","fish-ction","ab6418378813"," character, the Ness Namew, an imagined lake sturgeon who travels between prairie waterways and Scotland [loch ness] to haunt and tease the colonial psyche.","41e4cbdd59c8","21a02248c4c7","image-99e120b910c16b6aae10d762ea4b71d24da28ab0-4032x3024-jpg","e3a69e972c4e","69f163bad2960","On a black background, pieces of watercolour paper are laid out across the image. The entire right half of the image is taken up with one rectangle painted in different shades of blue, dark on the left side and blurring into a light blue-grey. Wet-on-wet watercolour technique creates shapes that bloom like frost on a window. On the left are smaller strips and squares of paper in different shades of dark blue. ","96bfc5271fc3","image-bf8d23144cd4fdb5255558d4de4cd34e626aac97-3940x2901-jpg","d32c948d0859","c8ab0dc163490","On a white background, pieces of watercolour paper are laid out across the image. The entire right half of the image is taken up with one rectangle painted in different shades of blue, swirling into orange and gold. Wet-on-wet watercolour technique creates shapes that bloom like frost on a window. On the left are two smaller strips of orange and teal.","b352da2d6f60","be1b3a6a6819","81665fd7db5c0","On a black background, pieces of watercolour paper are laid out across the image. The entire right half of the image is taken up with one rectangle painted in different shades of blue, dark on the left side and blurring into a light blue-grey. Wet-on-wet watercolour technique creates shapes that bloom like frost on a window. On the left are smaller strips and squares of paper in different shades of dark blue. The page is divided by two strips of colour, one gold, one copper.","153080d854f7","be1110193ba8","3b6460c75aa5","b994dcbc7848","e497b8114154","A well-appointed bull trout (","38080cb90406","fd42c8c0c1bf",") swims up to the microphone. They reach into their pocket and grab a pair of spectacles that they balance on their nose with one of their fins. They pause for a moment to look for their speaking notes, typed out neatly on moss green index cards. Ah, yes, they are tucked away in their briefcase which they placed on the floor next to the podium in front of the assembled journalists.","7b13d76a4b9a","028041f9b24e","A small leopard frog was circulating amongst the crowd passing out trout filet sandwiches, garnished with prairie flowers. The journalists, feeling a bit peevish about the trout interrupting their royal watch, distractedly grab sandwiches as the frog weaves through the onlookers.","1c1ab178ec6f","62d77d22b2f5","\"Ahem,\" the bull trout cleared their throat authoritatively as they glance down their nose through their glasses to the gaggle of onlookers.","519f439b3fc7","942f769105e8","\"I’ve come here to share a story with you here today, on the banks of the Uisge Dhè (River Dee), just metres downstream from the Balmoral Castle. I know many of you are here to mourn the Queen, who passed last week in the halls of the manor Queen Victoria built here with Prince Albert nearly two centuries ago. But I have some fishy business to bring up here, business to do with the ","5047199f5575","Treaties","10c14db33445",", dare I say, ","1ba21c8ea65c","Trouties","726636e59b41",", the Crown has broken with my nation since the British stole the lands my relatives inhabited since Time Immemorial.\"","eb7c2fd00cb1","61fe32a36157","There is uncomfortable shifting within the crowd, as folks stare at the silvery charr incredulously. A tired journalist from London, eager to file a story for his editor before dinner furrows his brow in confusion: \"Is a....","56b5788a4fb6","trout","7ebdf94ac2c6","....from....","b0e8b9049ba1","Canada","23091388b8d6","...about to deliver a mani-fish-to?\" he ponders. ","2f6332d9d10e","8c6b47512352","The bull trout clears their throat again and launches into their speech:","59babbe44aa2","1e4c8caa5150","\"As glaciers receded at the end of the last ice age some 13,000 years ago along the landmass currently occupied by the province of Alberta in the settler-colonial nation-state of Canada, the charr known as ","6c125a9992d5","29a05328393b",", bull trout, made an impressive journey.","ec280ecaab0b","0ac8248bde22"," The fish wound their way from Ice Age refugia up rivers and waterways that had carved through glacial till to establish the present-day creeks, rivers, streams, and lakes of the Rocky Mountains and plains known today by their contemporary names—","351660fc3731","the Bow, the North Saskatchewan (kisiskaciwani sipiy), the Cline, the Tay, the Red Deer, and the Elk","1da19b6331f1",". Along this journey, bull trout and their fellow salmonid kin storied cool clear waters rushing from glaciers high in the sacred rocky mountains for millennia.","b04370fdeeff","410e2182c191"," And plural Indigenous nations have co-constituted life and stories alongside and with these fish across dynamic and powerful homelands in the Rockies since Time Immemorial.","b03d8dd1ac8c","7fc55a090a06","In these waters, an alliance of trout and charr, have always shared time and space, along with many other nations of fish and other aquatic species. ","1d4012db4f81","S
32alvelinus namaycush","8eb625e65b9a"," (lake trout), ","6f3a7fb077b0","Oncorhyncus clarkii","b9bfd27c0dae"," (westslope cutthroat trout) and ","2820d1e27bbf","Oncorhyncus mykiss","afd6ebbc290b"," (Athabasca rainbow trout) moved through these waters alongside bull trout and many other species.","ee4621f5ac24","89cd4b30fc35","A world away in the tundra expanses of the 40 million year old Cairngorm Mountains,","42250eb1d191","a2a2384072f7"," the River Dee (Uisge Dhè) starts its journey eastward from a spring high in the granite mountains, and rushes along the countryside to meet the fiery North Sea.","7e1716764042","a5985ce1969d"," The earliest records of the river inscribe its divine origins, and salmon and trout have made this godly river their home for lifetimes. One such fish that has lived in Uisge Dhè for a very long time is the brown trout (","66bd07b8dbd4","0ab0d8c46ba7","). Today, the brown trout is a prized sport fish in Uisge Dhè, with celebrities and royals gathering at the water’s edge to fly-fish ","ace5354eeca8","ac50e60d20d4"," and Atlantic salmon (","f8128a234bbc","Salmo salar","eb2aa3fb616b",") along bends in the river populated by castles and villages that wend their way back through hundreds of years of Scottish history.","9f8edfbbb9bb","36bf64bdb7dc","1363e73333f3","600 years ago, ","3cc3b73d867e","f06604cbbf60"," in the Uisge Dhè and ","1a05a98aa011","67eba2e355f8"," of the kisiskaciwani-sipiy had no reason to know one another. They swam through rivers worlds apart, connected to their respective homes through countless seasons that layered like silt along their watery homes. ","177e07f69947","bd11566fc553",", known for their distinctive spots that dot most of their body, can live in rivers, lakes, and the open ocean. They are wily and resilient, celebrated as a prized sport fish here in your waters, and marveled at by commoners and royals alike.","c10a8e930c83","4718b475df1e","My people, ","97d73641112d","f98761f98ed0",", named for where the waters meet, used to swim through rivers that stretched down from the glaciers into the foothills and across the languid expanses of the open prairies in the Bow, Red Deer, and North Saskatchewan Rivers. We snapped at rock flies and nestled our young in redds in the lively waters of these powerful rivery beings. Humans fished for us, but we had agreements with their nations, too, that governed how and when we would be caught. When humans broke these protocols, we found ways to assert our autonomy, refusing to be treated carelessly. Laws wove us together through time and space, and we were well known for our speckled pink and olive brown flash in the cool, clear waters we inhabited.","93d064fd19dd","9d8f9a8b1f6b","You, your people, also shared space with trout, and our larger family of salmonids for a very long time. Not the same trout as my nation, but salmon and trout swamalong this winding stretch of the River Dee as it tumbles down from the Cairngorms towards the shores of the North Sea all the same, as they have for centuries.","213ff37573ce","25695e971a00","This unassuming bend in the river has been visited by Scottish and later English royals since at least the 14th century.","f99d0d2c9120","e85c4ba1ca3b"," The castle behind you, the one that Queen Elizabeth died in last week, is reputedly built on the site of an old hunting lodge used by King Robert II of Scotland in the 14th century.","f635f2b3a382","48caf46ebfe7"," As the wealthy and powerful of these lands made their way here, feasting and recreating while many in their countries starved and struggled, the trout of these waters allowed themselves to be caught by whoever needed them. Fed people through famines and wars.","8dde73be9ff0","e3185d1d7b08","But. Nearly six hundred years ago the tides turned. Your worlds, the ones woven through these waters, these forests, your religions, and these hauntings—they expanded outward in the name of your crowns.","675ed6fa387b","8 9","f4e3e2967bf4"," Your people imposed your laws, your horizons on whole continents. The waters my people swam through for millennia in those cold clear rivers were caught up in a bloodthirsty hunger your nation and its neighbours here in the subcontinent of Europe fomented. With your neighbours—France, Spain, Portugal, and a host of other crowns that coalesced into later nations – you set your sights on our waters. Our lands, our relatives.","95346491aa80","bbca30652623","You fished out banks and rivers. You cut open sturgeon ","836a767ff7ed","namew","04c320a3f768"," for their swim bladders to send back to Europe to make your wine and your bonbons.","0c0e34d65041","9d6ab4088f8a"," Fish societies that had survived five mass extinctions over nearly half a billion years on earth could barely survive ","8b9593e90e65","you","37e7946740cc",". Fish, with our plethora of laws, protocols, and millions of years of knowing—we were no match for your rapacious being. You gutted the land and strew the viscera of your colonial worlds along the shores of lakes, rivers, streams, and estuaries.","a189c370e347","ab1eb68394de","Did you know that when your grandfathers came to the banks of ","437dbf311979","2d82d6a11cfd"," waters one hundred and fifty years ago, to ","36a55c4a61c2","58afad0f48d3"," home, they tried to fish for me? Did you know that when they tried to fish for me they lamented I was not as ","c14f6b75e574","grand","87e39e2b12fa"," as ","4bb0b0530128","noble","21638ed48330"," as your european fish? They sneered at how finely and quickly I jumped at lures, and later on, they were angered by how well I hunted the fish they eventually introduced from their european waters. ","dd322b86c5cb","5c3fa8c0bab7","They called me a garbage fish. Worthless.","3698541e5a08","9a1e7de85db0"," A waste of time to sport fish because I was too eager to be caught.","327663678b8f","47d7ed07de06","They ordered your cousins to fish me out. Throw me on the banks. Let me rot. They rejoiced when I receded from the prairies, disappeared to the smaller creeks and streams of the upper reaches of the foothills.","fe25d02b2407","3b61321c647f"," They refused to listen for decades as locals rang the alarm at my disappearance from waters where once I was abundant.","9545e7114611","8ab652b9ed9c","1502563cb4f8","It was not enough to label me a garbage fish. They brought their own fish from Europe over. To replace me. The first ","a5be1741a46d","763542b04dfb"," stocked in Canada were brought over from a hatchery in Scotland.","fcded7e35a05","e23ff6e16174"," Colonizers stocked the rivers and lakes with their familiar fish quarry, tried to refashion the glacier waters into granite Alba. They tried to use my salmonid cousins, the affable and admirable trout of your lands, against me.","7a277e53eff4","e9d196f37b93","However, the joke is on you. Because we do not move the way you move. We got to know the new fish. We made new stories. They wove their way into our waters. We made new n
32ations. Forged new alliances. Signed trouties between us. When brook trout joined us from eastern north america in 1903,","e950803214aa","8e020af90d86"," we welcomed these new ","1b1b4b41fcfe","Salvelinus","1af2713ca011"," to our worlds. They shared their stories of the ways your european nations, and later their settler empires, devastated the countryside for centuries. When ","64d529a7417d","0531abc990c4"," derived from european stocks arrived in my waters in 1924,","619e6f0ffead","5bd92a897bad"," we welcomed them into our growing families. Our trouties expanded to unite ","cec0fd742a74","Salvelinus, Oncorhyncus,","8a71e128275f","4e16c77a719b","and Salmo","c3cc9650bd4a"," in our worlds.","e597f5e69f5e","9b2c9613e5d2","The ","fc11d63ae7de","Salmo","026e9f390c98"," from your rivers shared their stories of swimming up the River Dee for generations. Of weaving their way into the homes of the finest and most powerful in Europe. Of holding all your secrets as you laughed and played on the edges of their waters.","d9910fba7eee","238066b82e90","They remembered kings and queens. Farmers and paupers. They saw your wars and lamented your hubris. They held many ceremonies to try and mend the harm your country enacted across whole continents.","cd833aabb463","81cdfca60c3b","They prayed you would stop extracting life and worlds from places you had no business colonizing.","b0d20f245f94","c28dba343981","The trout and the salmon in your rivers have been watching for thousands of years, remembering your words. When you die, they swim up and down the rivers at dawn, singing laments for you as your cross into the next world.","c8ea8da1f178","2e8626187f1e","They carry intrigues from your wars that you have long since forgotten.","f3c16a133457","5bf6639fac02","They told us stories of how they enacted their own laws. Refracted justice across waters that were claimed by lords and courts as blood was shed between kingdoms and peasants were pushed off the lands of these mountains to make way for sheep and nobles.","19e7ed28f021","fe044a6b1cbc","As we lamented the relentless assault of settler society on our waters, ","c94c7ed00cb4","10dd2d3ef826"," shared with us their own forms of revenge back in their Scottish waters.","c1c343db7658","c28ae8e18220","Of how they choked one nobleman (who had a better moral constitution than most of your noblemen, but he was a wealthy white aristocratic colonial landowner all the same) who lived in this castle, with just one of their bones.","39c4a86cb782","b6e5f6e867e1","dec3f08b2867","And that.\n\nWas how.\n\nI knew.\n\nHow to find you.\"","fa81d87bd011","1c108d450cc5","There was a sputtering in the crowd and someone in the back yelped in alarm. The journalists looked in horror at the trout filet sandwiches they had been eating, and gingerly placed them on the paper plates they held in their hands, no doubt imagining their own potential grisly fishy demise.","dcd8d3738b2c","138058997ce2","The bull trout looked up in amusement.","a871c9f74130","70f32242e868","\"Never underestimate the fish,\" the bull trout drawled. ","bdfdbc503c62","2298ee5bafa5","The journalist from London had his scoop.","6663d421abdf","0cf6a5dab5d6","And that was how the prairie fish alliance began the First of the British Trout Reclamations.","6cf06df287ec","b1eaea6643a6","883e31d2252d","165c56e97113","0c2270d63654","8f4e0b8de0be","5aa4cf033e78","a4d89514ffbd","a76d4b6c7fb4","Nelson and Paetz 1993.","9e5d0ab6a751","65e292e686740","https:\u002F\u002Fwww.albertanativetrout.com\u002F","d35c9f526686","0f06a32d04c60","https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FCairngorms","8799903783fa","f49e071155600","https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FRiver_Dee,_Aberdeenshire","acd9fd5f8b9d","3cd7db882d940","https:\u002F\u002Fwww.dailyrecord.co.uk\u002Fnews\u002Fscottish-news\u002Fbilly-connolly-opens-salmon-fishing-1049513","73b858fd2465","31b4368446f30","https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FBalmoral_Castle","a5094df6a133","850bf0bece7c0","https:\u002F\u002Fen.wikipedia.org\u002Fwiki\u002FBalmoral_Castle; https:\u002F\u002Fwww.thefield.co.uk\u002Ffishing\u002Friver-dee-47586","94b0d415ef78","79d4c04d8b340","Wynter, Sylvia. 2003. Unsettling the Coloniality of Being\u002FPower\u002FTruth\u002FFreedom: Towards the Human, After Man; Its over-representation – an argument. CR: The New Centennial Review, Vol. 3, No. 3, coloniality's persistence (fall 2003), pp. 257-337 (81 pages) https:\u002F\u002Fwww.jstor.org\u002Fstable\u002F41949874Quijano, Anibal. 2000. Coloniality of Power and Eurocentrism in Latin America. International Sociology 15:2. https:\u002F\u002Fjournals.sagepub.com\u002Fdoi\u002F10.1177\u002F0268580900015002005","a8b70bf25554","1c3447c026250","Holzkamm, Tim E., Victor P. Lytwyn, and Leo Gilbert Waisberg. 1988. “Rainy River Sturgeon : an Ojibway Resource in the Fur Trade Economy.” The Canadian Geographer 32(3); 194-205.","ed0066c339e1","0beb6b3d25eb0","Lorne Fitch, “Two Fish, One Fish, No Fish – Alberta’s Fish Crisis,” Don Meredith Outdoors (Blog). Posted March 26, 2015. https:\u002F\u002Fdonmeredith.wordpress.com\u002Fpage\u002F3\u002FRL","8fccbc1ac257","ff7b8431a6cf0","https:\u002F\u002Fwww.alberta.ca\u002Fbull-trout-fsi.aspx","b7cab5378812","ef3dd56b04890","Roberts, Wayne Emerson. “The Bull Trout- Endangered in Alberta.” In Endangered Species in the Prairie Provinces, Natural History Occasional Paper no. 9. Edited by Geoffrey L. Holroyd, Philip H.R. Stepney, Garry C. ","d2db4fbe8c33","2323d72b0d7e","Trottier, W. Bruce McGillivray, David M. Ealey and Kevin E. Eberhart, 129-131. Edmonton, AB: Provincial Museum of Alberta, 1987.","3518a7c5f16c","fd8187596f0c0","https:\u002F\u002Fwww.gov.nl.ca\u002Fffa\u002Fwildlife\u002Fall-species\u002Fanimals\u002Finland-fish\u002Fbrown-trout\u002F","a332409d5290","a167455de06d0","https:\u002F\u002Fwww.alberta.ca\u002Fbrook-trout.aspx","f842db8cb0ce","c12ca9326b0e0","https:\u002F\u002Fwww.alberta.ca\u002Fbrown-trout.aspx","9633ad5c5251","34f6b7b697cf0","https:\u002F\u002Fwww.thefield.co.uk\u002Ffishing\u002Friver-dee-47586","35485d46dfde","9edcd4d3d318","6b76e8514794","091c9ad18ae0","17c9e600ec33","830f6338bc0a","a9e82c2ef227","cd0c64cfe97d","b2461cee7cd9","3b667376e1e2","bfc4165d81d6","de25c2ef7e99","b508bbd9148f","fe5bb1ba035b","0246f17d1cb7","7156a74ad776","5b872ba30bd8","8e730c95a821","b1b0c77b00c1","46d47efaffac","6287139b-75c9-4532-8d0f-69e0e8198a86","e8db3f18054a","84b5446d26c6","644861948fbe","71f33d32760d","1111b42ff4ca","74fb9709d621","e7f2ca85ca11","6ae571f0-8e5a-45d7-aad6-6996f6a17022","51b8fec5fb2e","e12dd8dd4016","ea705e52-70a8-4723-802e-9caca980b2ca","river-dee","2023-07-11T02:25:30Z","3290e821-ef5e-41c1-b2a3-f5f08767a382","aGJx0UVqjQX53pWgeloDCL","2023-07-14T11:37:20Z","FR","0018401e2fb3","d5244bd0b66c0","A film program and essay by Another Gaze.","Late August at the Hotel Ozone ","(Konec srpna v Hotelu Ozone) 1967, Pavel Juráček and Jan Schmidt.","26c400d4bcf9","98af8dbe3a79","file-4063c99b95d6fe901c9ec0ad048c542a7a2bfe65-pdf","Before Law—Another Gaze: Second Natures","2023-07-11T00:49:02Z","image-721ca74291796d54809cb399573c8de8eb32ec74-1440x810-jpg","3JnjoNwBZ41U8L0QbWUzeL","2023-07-14T04:44:11Z","MQIOhG?b~qM{t7RjD%D%%Mt7~qxuayxuIU",810,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAALABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAcIBQb\u002FxAAkEAAABgIBAwUAAAAAAAAAAAABAgMEBREABiEHEkETIzFRYf\u002FEABQBAQAAAAAAAAAAAAAAAAAAAAD\u002FxAAUEQEAAAAAAAAAAAAAAAAAAAAA\u002F9oADAMBAAIRAxEAPwDQ2ORmVnws2qx0Y8iAiBz2UO4B5zj3HUWUiGYtjHRBMErE4XZ6GvP3lM7HHtHGunTWQIYlgNVkxoRLCS60FYPmxFmfpG9k19vxgMfVpLWJaCavURKmCpbMQS8gbzhjC1CDjI2CRbMmKCSBRGiAW65\u002FcMD\u002F2Q==","#484848",3.1,3.25,"Hotel-Ozone_1967_Film-Still.jpe.jpg","images\u002Fhh000x49\u002Fproduction\u002F721ca74291796d54809cb399573c8de8eb32ec74-1440x810.jpg",375863,"wuWTPp7m87w9lcHrFS1vUETiblcW1mPC","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002F721ca74291796d54809cb399573c8de8eb32ec74-1440x810.jpg","This essay is an accompaniment to ",", a film program by Another Gaze; on view in the "," through 15 August 2023.","Introduction","ee9f4292b067","0579d82aa5af0","aa8fbb98723f"," bring together two films by Czech writer-director duo Pavel Juráček and Jan Schmidt, to explore the doubled nature of the on-screen animal.","69406f28aee9","a2121ab958a80","The program includes their short film ","a2121ab958a81","Joseph Kilián","a212
321ab958a82"," (","a2121ab958a83","Postava k podpírání","a2121ab958a84",", 1963), which follows a man in his attempts to return a cat he obtained from a cat rental company. When the company’s storefront mysteriously disappears, what ensues is a kafkaesque, bureaucratic nightmare with the officials who misdirect, berate, and bully the hapless protagonist as he carries the cat from one institution to the next. Throughout the film, the cat is witness to a fundamentally human farce; no longer companion nor commodity, but the innocent and alien observer of a system that has long since exceeded itself.","4a678d642267","e8c99668e2860","Something similar is at play in the program’s second film, the 1967 feature ","e8c99668e2861","e8c99668e2862"," (Konec srpna v Hotelu Ozone), a post-apocalyptic drama about a band of semi-feral young women who wander a desolate landscape bereft of other humans. They are led by an older, wiser woman with dreams of recovering something of the lost world that stands at odds with the younger, brutish, and more violent in the group. We see the cruel exploits of these followers as they kill a snake and a stray dog, dynamite fish from a river, and rip apart a cow with their knives. In the absurdity of these violent acts, and perhaps more so by the evident pleasure taken in committing them, rises the impossibility of founding the old world anew.","d3f41489fb3e","cb8cd59792fb","In both films, the presence of animals intensifies our estrangement from what we see. Animals are never acting. Their nature is ambiguous, troubling. They are distant and distancing. They are co-opted into our subjectivity, prodded into symbolism. And yet they are anathema to fiction, pushing back through the incomprehension in their gazes, the disturbing reality of their pain, the unarguable fact of their deaths. In ","de9cf90fc4ef1","Animals in Film ","6957ee5ca183","(Reaktion Books, 2002), Jonathan Burt states that “the animal image is a form of rupture in the field of representation,” and later widens this claim to include our readings of it: “This split within the animal image – the artificial image that never can quite be read as artificial – is one that ruptures all readings of it.” Onscreen, their secondary nature (in the opening of ","de9cf90fc4ef3","Genesis, ","de9cf90fc4ef4","Adam names the animals who have been created after him; this hierarchy is replicated throughout all of human history) can no longer be read as secondary or singular but is shattered into a whole host of ","de9cf90fc4ef5","natures ","de9cf90fc4ef6","that orbit and comment on our own. ","86c376692e18","8fbe6f4787c5","4d55967edc80","5eadc9f3771d","Absolute Alterity in Joseph Kilian","85d8245e4dd8","fc55fb3428fc","The opening of Pavel Juráček and Jan Schmidt’s ","e7948af966811","e7948af966812"," is so tidy that it could be taught to students in film schools all over the world. '","e7948af966813","This', ","e7948af966816","a teacher might say, 'is how to set images in order'. The first shot – two Grecian sculptures of men who look like compound heroes, amalgamations of Atlas, Hercules, and Perseus, holding up the columns that flank a large door – sets the tone for the film that follows, which explores a kind of futile, unending labour whose meaning is not clear to those that perform it. Next, children are led along a line of line that cuts across a deserted street. After they disappear, grown soldiers march the other way. Moments later a funeral procession appears and crosses the street again. Visual metaphors are exceedingly clear, with connotations that follow on from one another like clockwork. This neat, mechanical sequence is one of the nicest in ","e7948af966817","e7948af966818",", which sometimes feels like a light-hearted cousin to Orson Welles’s ","e7948af966819","e7948af9668110","where instead of the arrest and official persecution of the individual we have a thwarted attempt to return a cat to an indifferent authority, though both films are overlaid with the same incomprehensible bureaucratic mystique and clouding of anxiety.","916f3d7c490b","6ddb40a83ed2","The tidiness of ","0567dece6a4d1","Joseph Kilian’s","0567dece6a4d2"," opening is rejected by everything that comes after it. After the obvious metaphors and allusions at the beginning, the film is filled by a whole flock of them that never really touch ground. The viewer might try and make out their shapes or guess at the sum of their possible relations, but the meaning of what we see is difficult to pin down. Jan, the protagonist, attempts to return a rented cat. He is also looking for a man called Joseph Kilian, though soon the problem of the cat takes precedence. The parallel quests are connected in some way that is not clear. There are moments of unexpected formal brilliance, like when the shot stops suddenly, as if the camera is dragging on its images, or when actions are rewound and repeated without warning. In one scene, Jan peers up at some kind of infinite archive. He addresses a figure who moves between the rows of files on a mechanical crane. The cat is in his arms. He apologises for renting it without a reason. 'A person ought to have a reason', he admits. The man doesn’t answer him. As the quest goes on symbols accrue. Places pile up. Nothing works. Nothing quite adds up. Jan opens up a newspaper only to find that it is 
32written in Arabic. A window leads onto a brick wall. A book of 'Workers' Suggestions' contains nothing, no pages at all. A phone rings in an otherwise empty room. 'There is absolutely nothing here,' says the man who answers. Throughout ","0567dece6a4d3","Joseph Kilian, ","0567dece6a4d4","progress is only made with difficulty, and soon enough it turns out not to be progress at all. At the end of the film, Jan is still left with his cat and presumably the late rental fee.","088a4cd7688c","88cd112c52000","88cd112c52001","is a strange, flawed, and mysterious film. It was released soon after Welles' ","88cd112c52002","88cd112c52003","with which it holds many similarities, both formal and thematic, and, of course, both films involve a character called Josef K. In a way, ","88cd112c52004","88cd112c52005","is the stranger of the two. Jan is not under arrest or looking for justice, but trying to return a cat while simultaneously looking for a man we never learn anything about. The film is far funnier and somehow more inexplicable. The inclusion of the sleepy, agreeable cat, which Jan must carry either in his arms or in his briefcase with its patchy head poking out, creates a double distance, an additional layer of incomprehension. Writing on ","88cd112c52006","88cd112c52007"," tends to focus on its relationship to socialism and the maladies of its era, but the figure of the man with the cat in his arms pushes the film into deeper kind of alienation. The cat understands even less than Jan. Its beholding of the strangeness of what it comes across might be seen as extending the film's critique of ","88cd112c52008","this ","88cd112c52009","system into a critique of systems in general. For this gaze absurdity has no end. In 'The Animal That Therefore I Am', Jacques Derrida famously writers about the possibility of the animal looking back: 'The animal… can allow itself to be looked at, no doubt, but also […] it can look at me. It has a point of view regarding me. The point of view of the absolute other, and nothing will have ever done more to make me think through this absolute alterity of the neighbour than these moments when I see myself seen naked under the gaze of a cat.'","044f4999d3cc","64ddb24f5e14","The film's final scene takes place in a bar. We see Jan talking with others, his cat beside him, but we do not hear their speech. The camera focuses on a man doing a crossword. He reads aloud, 'A quality that distinguishes man from animals, five letters.' His companion answers, ‘","3fa1078364fd1","rozum,’ ","3fa1078364fd2","which means reason and is the traditional answer. The man stares back down at the puzzle. He shakes his head. 'No', he replies, '","3fa1078364fd3","kázeň","fd7b5f2e1db7","', which means discipline. In the context of this","3fa1078364fd5","3fa1078364fd6","film of layabouts and misdirection, it's hard to take this answer as anything more than an expression of great optimism. The word echoes. It hangs between the two men. Images of the people in the bar follow: they have been fractured into snapshots. The film picks up again with Jan, who jerks his head in the man's direction, and then walks over hopefully. He thinks that the man is Joseph Kilian. The man says that he isn't. After Jan walks away, the man finishes his drink. When he stands up, we see that he is carrying his own cat. There's a similar kind of tidiness here to that of the film's opening, the same passing on of a baton. ","3fa1078364fd7","3fa1078364fd8","begins and ends with a visual joke. Only here instead of the easy chronology of child to soldier to corpse, we are left with a cryptic, uneasy, animal symmetry. Two men, equally opaque, holding two cats, equally opaque. No eyes meet, no information is exchanged. All audiences are similarly stranded. And what is it that has derailed narrative to such an extent? The inclusion of a look that conveys nothing and wants nothing. An animal impasse that overwhelms a human one. Absolute alterity. The gaze of a cat.","fad570954587","6c44cee98a53","ab78e99eb4f7","120a4b840ad80","No Future! No Family! : Seeing and Unseeing Abstraction in Jan Schmidt’s ","120a4b840ad81","120a4b840ad82","(1967).","2d64a5a68b56","ed306c82672e","By Georgie Carr","dae5fcfcbc1c","05d9e18acf74","Films that try to represent nuclear explosions almost always depend on a non-showing, a retreat into the space of aesthetic abstraction, where mass destruction is represented through a blank screen that approximates the 'flash blindness' caused by the atomic detonation. Before CGI, this was necessary. As nuclear catastrophe was too difficult to recreate, and the struggle to capture figuratively an event which is at once unimaginable and endlessly imagined too huge, cinematic representations either relied on real footage from past explosions, or white flashes, total blankness. Perhaps the most famous example, Alain Resnais's ","45cd2d62347c1","Hiroshima Mon Amour","45cd2d62347c2"," (1959), opens with a black screen, and as montaged sequences present the Japanese city through flashbacks, a vocal refrain of \"for lack of anything else,\" suggests that the photographs and reconstructions of nuclear destruction are only there for that exact purpose. Jan Schmidt’s ","45cd2d62347c3","45cd2d62347c4","(","45cd2d62347c5","Konec srpna v hotelu Ozon","45cd2d62347c6",", 
321967) opens in a similarly abstract manner: images of a church, a pastoral landscape and an open book, half-read, are separated from one another by white flashes.","0f09b6d8eafd","9d31ab5ccb68"," White light — or is that white space? — fills the screen, either nothingness or overwhelming presence. Infrastructural obliteration and cellular degradation cannot be depicted, and so what moments like this convey is impossibility, excess. But if the moment of nuclear extermination presents an insuperable representational challenge, the lives that might follow it are also fraught with difficulties. How can cinema show a world that remains after social, economic, and aesthetic annihilation?","caff71f83572","6c7710c0625a","While ","b898b1a7ba801","b898b1a7ba802"," begins with an ","b898b1a7ba803","aesthetic ","b898b1a7ba804","abstraction, signalling towards a crisis of representation, I want to consider the way the film interrogates processes of ","b898b1a7ba805","capitalist ","b898b1a7ba806","abstraction, how it reassesses the etherealised abstract forms of domination that surround us in society. Capitalist abstractions are born from the production process and through commodity exchange in which value is formed \"behind our backs,\" to borrow Karl Marx's phrase, via a division of labour that separates producers from production, and production from circulation.","bd37dc61e014","4ae7d2b70718"," Chris O'Kane, in an essay on “real abstraction,” usefully describes how this process 'metamorphoses' the social and the economic into the 'natural',","b898b1a7ba807","b898b1a7ba808","reifying bourgeois systems of knowledge in a world in which they overwhelmingly mediate our lives.","fb9656e1d80c","fa1d704f2f32"," Can the post-nuclear film image help us chip away at these abstractions and show new visions of interconnectedness unmediated by or dismissive of value? Films about nuclear destruction lay abstraction bare in their reduction of the world to seemingly disbanded pieces, ready for reassembly, so that we can better understand the complexity of their connections. If the unsettling of abstraction is a feature of ","b898b1a7ba809","all ","b898b1a7ba8010","post-nuclear film and literature, ","b898b1a7ba8011","b898b1a7ba8012"," is particularly interesting for its focus on how this unseating affects our understanding of gendered divisions of labour, care and experience. Capital shapes everything, including family and care: the unpaid work and structures we need to keep the system running and workers working. If its abstractions harden into structures that dominate our everyday experience, what can their momentary explosion tell us about how we might re-interrogate the world for the future?","bc13a7f13199","2ddfda8279f60","2ddfda8279f61","depicts crises of reproduction and care in a society that has barely survived the conflict between the capitalist and Soviet Communist modes of production. In the nuclear fall-out of ","2ddfda8279f62","2ddfda8279f63",", humanity appears on the brink of extinction. Only a small group of eight women remain, wandering itinerantly across a dying landscape on a quest to seek out other human life. For 15 years, young women with no experience of life before the disaster have been kept alive, educated and cared for by an older woman who they call \"Old One\" (Alžbeta [Beta] Poničanová), who lived before the cataclysm and remembers the former society. Men appear to have died out entirely; years ago, \"dogs tore apart the last boy,\" Old One informs the girls as they tally the post-apocalyptic history on the growth rings of a fallen tree. Ignorant of the old world, when the girls encounter an old man (Ondrej Jariabek), the proprietor of the Hotel Ozone, they violently reject his attachment to a now defunct mode of living, to tradition, propriety and property rights.","aec338f55449","8f5e40dd75780","Value","81f19cfd8331","a1e5db2bfa67","A girl scavenging for supplies emerges from an underground bunker carrying a box of bullets. As she piles them high in one hand, they shine and clink, gleaming and coin-like. The camera pauses, giving weight to the image, but she lets them fall casually to the ground, uninterested. When Old One asks if she has found anything, the girl replies: \"nothing.\" The noise of the metal casings cascading down to the rock soundtracks a moment of interpretative dissonance between character and audience. While I unthinkingly interpret the bullets as powerful, dangerous and (in a post-apocalyptic society of scarcity) valuable, the girls are disappointed. Lying inert on the ground they appear unappealing and dull, the
32ir affective power tarnished. Following Sianne Ngai, we might say that the camera has \"diagnosed an object’s false promise of value,\"","e79147fbee0f","749ee087d26e"," that when a thing is \"too old or too new\" either “technologically backward or just as problematically advanced” it appears gimmicky, silly or without obvious value: this is the enforced heuristic of the post-nuclear.","09f56a889f03","b0ef9b57f91f"," Similar moments","d54db5529ee41","d54db5529ee42","of dissonance recur throughout the film. Searching through a dilapidated building, one girl finds a rag doll. She clutches it behind her back, as if to claim it as a beloved toy. Later, when it is accidentally ripped apart and lies broken in the dust, she holds the pieces uncertainly, unsure what this destruction means. The camera lingers briefly on its broken body, inviting the audience to share in a pathos that is refused by the girls, who move on quickly. Watching ","d54db5529ee43","d54db5529ee44"," in 2021, I am aware of the capitalist-abstractive gaze I bring to the film. My own ideas of societal abstraction are conditioned by modern bourgeois economic forms – I look according to the dictates of a world dominated by capitalist exchange, rather than by the exigencies of social usefulness. These scenes challenge the meanings I unquestioningly find in these material objects (a valuable bullet, a desirable doll). Notably, the girls do not interpret the doll as 'cute' — another of Ngai’s aesthetic categories — a cuteness which \"calls forth helplessness, pitifulness and even despondency,\"","ba9314a8afc6","25db230ffe4f"," what Ngai understands as a \"commodity-orientated\" relationship that produces the everyday reifications that link modes of productions to certain affects.","6a5e563ef7d0","d19b0784cee0","e7a2015e5fb2","In the post-nuclear world things have different resonance and provoke different feelings. Close-up camera work repeatedly centres the object, inviting a cinematic valorisation — look at this! — before a series of quick cuts and reaction shots reveal antipathy or disinterest. As this accumulates, the camera begins to appear didactic, as if it’s misleading its audience in order to instruct it. Centring meaning only to strip it away, the film chips away at our abstract values. The screen becomes a space to reassess material culture, and once laid bare the image can be reinterpreted and reclaimed for new purposes. New meanings can be asserted in this changed world in which the survivors of nuclear apocalypse don’t recognise the abstractions of past societies. As they handle these strange objects, the film demands that we think about how they were made. Questions of value cohere around ideas of usefulness","be1251846c081","be1251846c082","By stressing the specificity of the objects themselves, divorced from their habitual meanings, the film returns us to a complex understanding of things, and the relationship between different forms of abstraction is offered up for reconsideration.","2d0d41416d72","55a735d5e4150","55a735d5e4151"," was released six months before the Prague Spring, produced within a Soviet Communist society of scarcity and control where different forms of social intuitions predominated. These, in turn, conflict with the image on screen. As I am watching I am aware of this three-way split: the communist mode of the film's production, the capitalist context of my interpretation, and a third, post-nuclear approach constructed in the film itself, what can perhaps be understood as a nihilistic perspective. Just as it is anathema to neoliberal norms of personal indebtedness and individual responsibility, the nihilism of the younger women — how they reject fundamental moral (and economic) value — would have been alien to an ideal Soviet viewer (think of the 'Stakhanovite' or 'New Soviet Man') and to a state that stressed national development through productivity. The girls smash open a barrel of gasoline with an axe and let the precious liquid drain into the ground. Bored, one of the group sets the fuel on fire and another hurls in the box of bullets, beginning a lethal game of hide and seek as they duck and run to escape the ammunition that ricochets in all directions. A swiftly panning camera tracks their hysterical movements like an over-excited observer. Sprinting, grinning and fearful, the group celebrate a bonfire of utility, exploding conceptions of ","55a735d5e4152","use ","55a735d5e4153","into apocalyptic forms of ","55a735d5e4154","play.","c8d3cd69b96f","c999076bc9fc","Of course, as art historians David Crowley and Susan E. Reid argue, late-sixties Soviet society was not without pleasures. In post-Stalinist society, political consent was secured through the celebration and the state production of consumer goods. The image of the everyday consumer came \"to occupy the hallowed place in consumption politics and representation,\" displacing the industrial and agricultural archetypes of Socialist Realism that had dominated throughout the five-year plans; Stalinist programs of mass industrialisation and collectivisation.","7c0888821506","71ac6a952639"," New scaled pricing categories, luxury goods and increased marketisation undermined state assertions of a classless society structured around equality of means. Cigarettes, fur coats and caviar were celebrated as luxury items, to be saved up for or lusted after. Often dressed up as wealth redistribution, in reality this was less \"Fully Automated Luxury Communism\" than creeping marketisation and the celebration of aristocratic culture.","85cb55a65f7a","09698ac6dd9b"," But in ","4cc4d3cfce361","4cc4d3cfce362"," the girls do not store, save, or venerate the things they find. We might connect this rebellious impulse to contemporary forms of political resistance expressed through material culture. In the Soviet Union, \"pleasure was integral to the utopian promise of communism,\" and everyday happiness was often manifested through the deliberate misuse or reinterpretation of consumer or everyday objects — a rejection of state-sanctioned categories of usefulness.","9ec0a4caee57","be4cbc00e05a"," Meeting in a Black Sea resort (intended for medical purposes) or the Moscow Park of Culture and Rest (intended for education) to drink (state-rationed vodka), party or have sex was a subversive misappropriation of material culture and public space.","f28d64a56085","9aec2c321f78","4cc4d3cfce363","4cc4d3cfce364","pushes this to extremes. The group delight in laying waste to their surroundings and take pleasure in destruction, rejoicing in the violent maiming and killing of animals. One girl twists the head off a snake; others shoot dead an Alsatian. In a particularly ferocious scene, the group spot a lone cow and, yelling in excitement, sprint towards it, drawing their knives. The camera cuts, staccato, between the thrust and dig of different blades scoring through animal hide as the girls happily disembowel the animal.","e428854edf60","04c0954330c7","The scene with the cow references two of the most famous montage sequences of Soviet cinema: Dziga Vertov's abattoir sequence in ","cfe967bcdc691","Kino-Eye","cfe967bcdc692"," (Kino-Glaz, 1924) and 
32Sergei Eisenstein's montage of cattle slaughter intercut with images of workers in his film, ","cfe967bcdc695","Strike ","cfe967bcdc696","(Stachka, 1925)","cfe967bcdc699","cfe967bcdc6910","For Vertov, the image of the abattoir helped to reveal the processes that form the commodity — showing the work and the work-time used to create the product. Running the film reel backwards and visually reversing the production process, ","cfe967bcdc6911","Kino-Eye ","cfe967bcdc6912","shows the journey of the cow from hunk of meat, back through its slaughter, to an ultimate reanimation of the animal in a field; an object lesson in the socialist commodity. In contrast, Eisenstein’s ","cfe967bcdc6913","Strike","cfe967bcdc6914"," intercuts animal death with depictions of the massacre of striking workers, prompting the spectator — through dialectical juxtaposition — to link animal with human death in a dual condemnation of commodification and capitalist class exploitation.","56c9db2fb059","37351b720c07"," For Eisenstein emotional feeling in the viewer could be emphasised through the use of real-life death: \"We were working with a truly tragic instance: a crushed strike and mass shooting. And so through montage I spliced into the acted scenes of slaughter pieces of real blood and death. The slaughterhouse.\"","01669f7b6432","8b04813eca00"," By layering images of suffering together he could visualise the workers lament: \"They treat people like animals.\"","8aa381208e9b","a8d2f2f50121"," As Soviet film scholar Anne Nesbet argues, for Eisenstein, animal death communicates an \"abstract lesson,\" that capitalist value is built through human suffering and alienating work.","c38c812644b5","79ea2b2b83d7"," But in Vertov and Eisenstein’s teaching of the lesson of capitalist abstraction the animal assumes a shaky semiotic footing, sliding around in metaphor: the cow is a product, the cow is a worker. In contrast, animal death in ","cfe967bcdc6915","cfe967bcdc6916","generates no value, it is not butchered, eaten or sold, it is neither obviously didactic nor useful. If all three films place a grotesque burden on the animal 'actor' who is killed for dramatic purpose or political education, ","cfe967bcdc6917","cfe967bcdc6918","cfe967bcdc6919","cfe967bcdc6920","slaughters","cfe967bcdc6921","cfe967bcdc6922","are exceptional in that they are without obvious utility, its slaughterers without recognisable purpose. The cow remains concrete: not a metaphor nor an abstraction but a dead body.","3692c2f3e501","7ad1d57e0304","By rejecting the obvious associations of value that a Czech communist viewer might link to objects the girls open up new modes of thought, action and feeling. These in turn engender different relationships to the world. At one point the group reach a mountain-top overlooking a wide valley, a glistening river running through it. The restless camera pauses, allowing depth and scale to fill the screen in a rare moment of beauty. Cutting between the group and the landscape, Schmidt constructs a reverse shot as if between two human interlocutors, so that the women seem to stare not only ","e3acf0eb3cc11","out","e3acf0eb3cc12"," but","e3acf0eb3cc13"," back","e3acf0eb3cc14"," at the landscape. The planar nature of the two images, each shot deep focus and wide angle, seem to intersect. Watching this sequence, I was reminded of John Akomfrah's words in Stanley Schtinter's short film 'John On The Void' (2019), when Akomfrah remembers a friend \"looking out on the [French Polynesian] islands we are sailing past.\" When Akomfrah calls to his companion he turns, but \"it was almost as if the place that he was staring at had either taken him away or had momentarily ","e3acf0eb3cc15","come to be him","e3acf0eb3cc16",".\" What Akomfrah describes is something more literally and physically akin to abstraction's Latin meaning, \"to drag away, detach, pull away;\" an all-at-once uprooting that is difficult or impossible to explain, but which captures something of the power of conceptual abstraction, how in moving between the 'here' and 'there', in the back and forth between the simple and the complex, new insights regarding the ","e3acf0eb3cc17","relation ","e3acf0eb3cc18","between the two states can be examined. Post-apocalypse, space has become even harder to describe. Back in Sc
32hmidt's ","e3acf0eb3cc19","Hotel Ozone,","e3acf0eb3cc110"," the older woman remarks, \"Everything is different […] Places have no name.\" Turning to one of the girls she smiles: \"But you don’t mind, do you?\" Here, place is dynamic, a process; appearing as a moment of nature and a structure of feeling rather than a pre-determined proposition. The group of women approach the world without the words we rely on to explain it; it becomes, for a moment, incoherent and unlimited. By overhauling an expected visual economy, ","e3acf0eb3cc111","e3acf0eb3cc112"," suggests a new politics of aesthetics. When classic ideas of value vacate the image the parameters of possibility shift.","127463e4a8e9","71acc60d6f990","Family","96c63c69dff8","53410a8bacb5","Reviews of ","f444529da2c31","f444529da2c32","typically focus on reproductive desire, suggesting that the girls' ultimate quest must be to search out men and procreate. A piece of programming text for a screening at New York's MoMA summarises the film as \"a band of women prowl in search of a man in order to perpetuate the human race,\" while the blurb on the English DVD case reads: \"A pack of wild girls search for males who can give them children.\"","f88c58b271f0","4fbd2721e5e4"," But this story of sexual and social reproduction simply isn't true. When the girls first encounter an old man, they run away from him, and it is only the Old One who sees him as a potential ally or even saviour. At dinner, he sets up a lavishly ornamented table decorating it with silver candles and a white tablecloth, and serves vintage wine from his cellar. Positioning the two elders at the head, he refers to the older woman at his side by her married surname, \"Mrs. Herbertusová,\" summoning a spectre of old laws, bourgeois manners and familial identities alien to the younger women. As the girls eat the fish they had earlier dynamited from a pond with their bare hands, he looks distinctly uncomfortable. This doesn't stop him from giving a hopeful, tearful speech, \"I raise my glass to you, the future mothers of the new world.\" His words grate uncomfortably — 'mother', 'world', 'future'. In the ","f444529da2c33","Grundrisse, ","f444529da2c34","Marx explains how abstractions dominate political economy, suggesting that \"when we consider a given country politico-economically, we begin with its population, its distribution among classes, town, country etc.\"","3451fa744e79","c67d1b964ac1"," This seems logical – after all the population is \"the foundation and the subject of the entire social act of production.\"","280d075d765b","2a9c8d50dffe"," But, Marx clarifies, \"on closer examination this proves false. The population is an abstraction if I leave out, for example, the classes of which it is composed. These classes in turn are an empty phrase if I am not familiar with the elements on which they rest,\" categories that remain empty and ahistorical, presupposing more than they explain.","2f61619896bd","15107014baca","f444529da2c35","f444529da2c36","these 'empty phrases' pile up around the Old Man and they obfuscate rather than elucidate. Instead of people he sees population; the members of the group are, in his eyes, representative of both more and less than themselves — they are stock tropes, mothers or daughters to be press-ganged into the nuclear family unit. He seeks to redefine and reconfigure them according to his image of what they should be, spectres of a past life in a dead world.","c0130def8d3e","a8aa4c0f90d3","The Hotel Ozone itself is both a faded simulacra of an old society and a simplified vision of existence that cannot survive reality. Slowly the girls destroy it, smashing glasses, breaking the TV and scrapping in the dust over things they steal from the house. With each broken object the gap between the present and the past grows wider — the old man's sense of futurity is conditioned by a pastness which takes its form in property, a collection of items that the first half of the film taught us were disposable and doomed. The camera that follows him around his house — which was once his business as an old-fashioned hotelier — moves sluggishly, confined to the fixed lines of the four walls. The rapid hand-held shots that were used to film the open steppes are replaced by a slow-moving dolly-cam which drags conventionally across the room, subordinate to its surroundings. In ","75d29b5594351","Signatures of the Visible, ","75d29b5594352","Frederic Jameson argues that film \"realism is conventionally evoked in terms of passive reflection and copying, subordinate to some external reality,\" inert and lifeless.","205b64d8ba54","c33958f79048"," Cinema, the laying of the world onto a filmstrip, has often been celebrated as the perfect realist medium, a copying machine. But at the heart of realism, he argues, is a contradiction, \"that the objective world is both real and false all at once.\" How does cinema itself represent this paradox? By ironising the formal conventions of spatial realism ","75d29b5594353","75d29b5594354","playfully, experimentally makes space for this knowledge and, in dividing our perspective between generations, between the old man and the girls, old world and new, Schmidt recomplicates preconditioned ideas about the nature of the world, exposing the bedrock of ideology beneath tensions between the real and the false. The camera dutifully observes the neat reception room, the summer parasols set up for guests, the freshly laundered bedrooms, and its static care renders these homestead scenes increasingly ridiculous, as if a reality that no longer has any meaning is being piously reasserted, a threadbare curtain thrown up to hide other possibilities of living. Both lament and parody, the film shows two versions of familial domesticity: Soviet past and post-nuclear present, tragedy and farce.","2c4b23ea687d","e4724a24f9c7","In Pavel Juráček’s short story ","3e97d7ec62d71","The End of August at the Hotel Ozone, ","3e97d7ec62d72","written in 1958, the group is described as \"living wildly on the remains of the world.\"","81c6723c6d2f","ec6246403864"," 'Wildness' is often understood as basic or base, as a societal lack rather than a constitutive presence. When used in this context, the word creates a reductive dualism that struggles to usefully describe the totalising shifts that might occur at 'the end of the world'. Indeed, in describing the group by its deficiencies — no morals, no manners, no men — we risk jettisoning the lens the film can turn on its society and ours. Although ","3e97d7ec62d73","The Communist Manifesto","3e97d7ec62d74"," (K. Marx and F. Engels) called for the abolition of the bourgeois family in 1848, patriarchal family structures were maintained as the societal norm throughout the later history of the USSR. And while, as political scientist Jacqui True argues, Soviet Communism had promised women’s emancipation through collective labour, Khrushchev-era culture \"increased the prestige of private consumerism.\"","1e549
32cd55651","22","67b360fbf999"," This kept women working in the private sphere, burdening them with the double duties of paid work in the wider economy and the necessities of social reproductive work at home: cooking, cleaning, raising workers. ","3e97d7ec62d75","3e97d7ec62d76"," is a radical rejection of this arrangement. The group of women equally share the labours of caring for each other and divide their resources freely. The camera suggests equity through aesthetics, filming from ground level and rendering everything in the same muddy grey film stock. Rarely situating the group in its wider geographical surroundings and rejecting aerial and panoramic sequences, the camera stays with the women, often finding them bunched together in tight formations.","ab9f13f5eade","1469fbdb62170","1469fbdb62171","1469fbdb62172","1469fbdb62173","mode of seeing envisions a smaller, deeply interconnected community that rejects the traditions of the nuclear family. The swift camera mirrors interplays of emotion and sudden close-ups materialise tenderness as well as brutal fighting. In Sophie Lewis’s book ","1469fbdb62174","Full Surrogacy Now: Feminism Against Family, ","1469fbdb62175","she","1469fbdb62176","1469fbdb62177","offers up a set of new terms to discuss the possibility of genetically de-essentialising familial relations to push back against \"repro-normativity\" and patriarchal conceptions of family, celebrating an \"inventive kinning\" that shares the burden of social reproduction beyond traditional structures — reproduction as \"personal yet plural, intimate yet inclusive,\" so that bonds of love and affection can flourish outside the structures that equate familial love with logics of ownership and division.","99158c210b9c","23","8f85d61c0775"," Lewis argues for a radical rejection of the nuclear family and \"the idea that babies belong to [someone] — the idea that the product of gestational labor gets transferred as property.\"","8baec201f88e","24","73de48c35a80","1469fbdb62178","1469fbdb62179","the girls belong to no one and they have chosen to form kin bonds regardless of genetic attachments. They eat, sleep, care and play together. The film goes some way to envisioning, however bleakly and post-apocalyptically, a new sense of family, creating aspects of an ideal community within a dystopian environment. It depicts the starkest kind of familial remodelling, born from scarcity and hardship and without the transformation towards the pleasurable and abundant communism advocated for by Lewis. The tragedy of the film lies in these contradictions: a vision of life without many dangers — the violence of patriarchy, the oppressions of property, the brutality of a policed state — but which exists in a doomed material environment: \"Nothing grows, the land despises us.\" Where Lewis’s vision is animated by revolutionary futurity, this seems impossible for this community created on a dying planet in which the natural environment, the necessary precondition for human life, is wrecked beyond repair.","cae02614dcb9","3f3e9da349d50","Futurity","7e8f9ce4eeaf","0d2cff6913ea","Viewed in 2020, there is something enlivening about the image of young women who reject the necessity of societal reproduction in the terms that the old man sets. In ","627b0404ca421","No Future: Queer Theory and The Death Drive, ","627b0404ca422","Lee Edelman critiques a neoliberal logic of \"reproductive futurism\" that centres ideas of futurity in heteronormative and patriarchal social reproduction and which criticises and erases queerness through the invocation of traditional family values.","0c4974065d6f","25","57f9a5954ed2"," Edelman polemicises against the figure of the child as an image tied to a capitalist future and a social world that \"exists to preserve for this universalized subject, this fantasmatic Child, a notional freedom more highly valued than the actuality of freedom itself.\"","d9a80082513c","26","36d80ff76897"," This reproductive futurism is inherently conservative in that it \"works to ","627b0404ca423","affirm ","627b0404ca424","structure and ","627b0404ca425","authenticate ","627b0404ca426","social order\" — reproducing tomorrow as today and perpetuating the current state of things.","1151cc94f67f","27","3db05865a510","627b0404ca427","627b0404ca428","there are no children and yet it is significant that so many viewers and reviewers demand them. The child is desired as a narrative pay off, a symbol of stability and an investment in continuity. Other 
32critics have rejected the \"tired nihilism\" of Edelman’s theories.","7be042fd1c81","28","a373f0d20bac"," For Lewis, ","627b0404ca429","No Future","627b0404ca4210"," \"isn’t against the Family at all, insofar as it needs that form in order to have something to define its nihilistic brand of 'don’t care' queerness against.\"","607cc198e9a3","29","8c44df0b60d9"," But if Edelman raises a flawed spectre of family abolitionism, does the caring network in ","627b0404ca4211","627b0404ca4212","which is anti-mother but not anti-maternal, anti-property but not anti-pleasure, offer something better? ","627b0404ca4213","627b0404ca4214","argues for a present that subordinates the future: not, after all, a total nihilism, but a systematic rupture which refuses the coercive value-system of the past world.","eac66c33aaf3","In the film’s final sequence, a fixed camera in deep-focus is trained on a forest hillside. Travelling across the space of the image, their movement suggests momentum but the film denies the viewer any glimpse of their destination; doubt and purpose co-exist uneasily but generatively in the same frame. Post-apocalyptic narratives often focus on what can be salvaged from the ashes of the old world. ","71a150934d9b1","71a150934d9b2"," instead insists on a spectacular immanence: a ","71a150934d9b3","now","71a150934d9b4","ness that pushes away the constraints of the past and rejects simple visions of an easily conceived or abstracted future. If the figure of the child can act as a line of flight beyond the horrors of a failing world, then it can only appear honestly at the same time that the oppressive structures of that society are being dismantled. Focused determinedly on the fulfilment of the present,","71a150934d9b5","the film suggests that if the world is dying it is necessary to demand change in the radical 'now', rather than in a hopeful 'not-yet'. The child — and especially the abstracted vision of the future child — cannot provide a template for a new society; this must come from a politics of immediacy. The old man demands that the girls stay on at his hotel; August is ending and they must wait out the winter together. But rejecting the comfort, and also the confines of the hotel, the girls keep moving over the hills.","6ac8bfd96c05","650cc8e0045e","c7ad98a7e9a1","a42dcda29aa7","9ce864df7c0d","280059612384","ff0b86364f5f0","The film has variously been translated as ","ff0b86364f5f1","ff0b86364f5f2","ff0b86364f5f3","The End of August at the Hotel Ozone","7f8b875e6bc9","bf1ff33ae74e0","bf1ff33ae74e1","Capital: Volume 1: A Critique of Political Economy","bf1ff33ae74e2",", Penguin, p.135.","b2f0b61f2ce6","d8e73e2036810","Chris O Kane, 'The Critique of Real Abstraction: From the Critical Theory of Society to the Critique of Political Economy and Back Again' in Oliva A., Oliva Á., Novara I. (eds), ","d8e73e2036811","Marx and Contemporary Critical Theory. Marx, Engels, and Marxisms,","d8e73e2036812"," Palgrave Macmillan, Cham. p. 267.","378f1f03d50e","d2a10b266a030","Nicholas Manning and Sianne Ngai, 'Visceral Encounters: An Interview with Sianne Ngai', ","d2a10b266a031","Revue Française d’Études Américaines, ","d2a10b266a032","No.162, 2020, p.121","4a13245a9072","0fd38d45e4cd0","Sianne Ngai, ","0fd38d45e4cd1","Theory of the Gimmick: Aesthetic Judgment and Capitalist Form","0fd38d45e4cd2",", The Belknapp Press of Harvard University Press: Cambridge Mass, 2020, p.2","9c62d3cc9a71","389fba7ace400","Sianne Ngai, 'The Cuteness of the Avant‐Garde', ","389fba7ace401","Critical Inquiry","389fba7ace402",", Vol. 31, No. 4 (Summer 2005), p. 816","c539ca87404a","e1d2a2fef11e0","Sianne Ngai, 'Our Aesthetic Categories', Special Topic: Literary Criticism for the Twenty-First century, ","e1d2a2fef11e1","PMLA","e1d2a2fef11e2",": Vol. 125 No. 4, October 2010, p. 949.","0acb3b3c0539","0608ed0805f40","David Crowley and Susan E. Reid, ","0608ed0805f41","Pleasures in Socialism: Leisure and Luxury in the Eastern Bloc","0608ed0805f42",", Northwestern University Press: Evanston, 2010, p. 15.","8341dba91d98","f15e64a84e010","Aaron Bastani, ","f15e64a84e011","Fully Automated Luxury Communism: A Manifesto","f15e64a84e012","f15e64a84e013","f15e64a84e014","Verso Books: London, 2018.","37c37e318fb8","6dabe1aa273b0","David Crowley and Susan E. Reid, p. 3","ebd16c121373","89f986c64d940","Ibid. p. 3-5.","47f8203852f6","ec26e304c8d60","Dialectical montage is “Eisenstein's term for an effect in montage in which the juxtaposition of two shots (the Kuleshov effect), which reflect some kind of conflict and has the potential to make an abstract concept tangible” — ","ec26e304c8d61","OED","ec26e304c8d62"," (Online).","ea2e659c14c3","749da66da3450","Anne Nesbet, ","749da66da3451","Savage Junctures: Sergei Eisenstein and the Shape of Thinking","749da66da3452",", I.B. Tauris, 2003, p. 24.","f8d40a1da5d2","46a433d315e00","26ba77409702","59973bba9ca40","66fa8c92ff67","ceeba309f2e80","MoMA Programming Notes for ","ceeba309f2e81","Late August at the Hotel Ozone. ","ceeba309f2e82","(July 31st 2017). (Online).","9285bd8bf195","caa060d8d6e10","caa060d8d6e11","Grundrisse: Foundations of the Critique of Political Economy","caa060d8d6e12","caa060d8d6e13","ca
32a060d8d6e14","Penguin Books, 1973, p. 100.","3c9797604c5a","8b2117ae52660","e0b4fb163ab6","13a4eb612bd60","3b64623d5e9c","8ddde57c80860","Frederic Jameson, ","8ddde57c80861","Signatures of the Visible","8ddde57c80862",", Routledge: New York and London, 1992, p.162","844c06fe11b7","95d74fede9070","Pavel Juráček, ","95d74fede9071","Deník II","95d74fede9072",", 1956–1959, Vyd. 1. Praha: Torst, 2017, p. 565.","032c9b057ac7","09f92a9932330","Jacqui True, ","09f92a9932331","Gender, Globalization and Postsocialism: The Czech Republic after Communism","09f92a9932332",", New York, 2003, p. 35.","5a5812e5d5ca","c5115d7e0eee0","Sophie Lewis, ","321fb4104ee2","Full Surrogacy Now: Feminism Against Family","4f8458eb7fc8",", Verso: London, 2019, pp.147-152","218cf53343d7","d527001671470","Sophie Lewis, 'Covid-19 Is Straining the Concept of the Family. Let’s Break It', ","d527001671471","The Nation","d527001671472",", 2020,","d527001671473","d527001671474","Online.","3a1327d10fdb","5c7338c274ed0","Lee Edelman, ","5c7338c274ed1","No Future: Queer Theory and the Death Drive","5c7338c274ed2",", Duke University Press: Durham, 2004, p. 11.","3d856da2a568","8390f22767bf0","532e54cf8923","9a38cf0565350","3d9342fb5d3d","8c2b8d90fe8b0","'Full Surrogacy Now: A Mini Symposium: McKenzie Wark, Jules Joanne Gleeson and Natasha Lennard'. ","8c2b8d90fe8b1","Verso Books","8c2b8d90fe8b2",". (Online).","d6b26c94b0a3","726600b4ee6a0","fae6e7ae0be8","f713a82b5f8c","4236e9bd4892","75ac0f37caf0","Georgie Carr is working on a PhD on the racialized articulations of British police policy, town planning, and police filmmaking practices. She is one of ","ff6fdf14ed16","2f0f6b780f0a","‘s staff writers.","73863dcd906c"," is produced with support from Bamboat | Mitchell, and the Canada Council for the Arts. The screening is co-presented with ","9168e0bfc086","Images Festival","1fe707156f08","https:\u002F\u002Fimagesfestival.com\u002F","f69e36d6debc","c7b30576a9d0","f9b41ce5-7e20-4e79-8b16-8c8827f9829d","2307b69910de","6edd15056d43","c94de5b71c34","7176859786e9","8060e25c-295a-484e-8545-76accf931b35","2cf3ff4577a5","6c9ac600-0056-4525-8f2a-4cf90a64bcd7","bc8e6853135b","second-natures","2022-07-23T15:31:15Z","1a6727e9-40e1-47bf-a40a-5435964e4732","U6xBk00tKpbFWHZN5gcyhA","2022-11-27T23:45:59Z","fd55cc0b4713","928b3b7c7ff6","Sarah Keenan: ","af74059971ca","73c24b64c0cd","11f58b2970eb","ce42be69732a","file-f05db7b094cd5ff04246b21452289e34ea2f1d56-pdf","Before Law—Sarah Keenan: Objects with Personality","image-d2e9231143d65f746753d8051276a230a38a643d-925x1177-png","tnjGEXgFmY2tkHBnw28Xa4","d7QT4Jxu~q-;t7ofxuay?aofj[WB-;j[xtof_3ayWBj[",.7858963466440102,1177,925,"data:image\u002Fpng;base64,iVBORw0KGgoAAAANSUhEUgAAABQAAAAZCAIAAAC+dZmEAAAACXBIWXMAAAsTAAALEwEAmpwYAAAC5UlEQVQ4jV1Ui46rOgzc\u002F\u002F+83RbyJi8goS3QdgmFnnN05RjY1ZUslATGDjNjfyzLc12n9zuta1qW777vtBZac+eUtVJrUVVcKWatHMfrskzrmt5viD9\u002F5o+Uxsfj1vddjhijzwBmjLBWGiMwl7UyRo\u002Ff9H18Pvt1\u002FQZwjLUxUERrrjWXkghBpCRKUaWYUkxKKiXNGaUx0lp5vbbL8v0xz\u002FcQnBCE85LzkrEzIaey\u002FCLkTOkWZflVFJ+Uno\u002FPYvTrOgE4Rq8UFQIKClEyVlB6ZqzABaWQjpAT56UQhFI4D8Ety\u002FSR0r1tnRAl5wVmzfWL32DMxfl2wljRthaundK9acz+XYH1j8pHoly2zDWgfts6BI91rQk5FcVnUXxhZUJOCMBquJYSWMTsbeteLyBsbBqDYEJO+I4xuMIBpvR80Mn3yj9gZGWvVjL2\u002Fz\u002FHLaUnxs5S0hD8du0QLL47CJMSFNZaWqswnKu819YqY6T3Vd9HkOr1etxuwfvKOeUcvLNW1rUOwd9ucRguGON4GcfrOF6GoRuGbpqGv3\u002FnH3BOD2CthbXK+6ptbds6jBh9CD4EFwJsx\u002FHyficwSdfVSrFsSYpiICu\u002F6VUKHCpzKEW7zoO35xlMsqu\u002FmWk3xmHV46RgDM43k6C3OS93J6KZNpOiCofDBOgHix+TtK1lrCiKTyyCmmXYts14EInnGoScmsaAziltXZWNAb\u002F6+5+VgsbOEgCdzlW5K8Xl0mBXPa7X1jlg23sgGWcIEp4HQMw6bTEM3TiCVDBJ5hmkahqTQ9c1hvG+ymq7rqtjrGP0Mfquq7uuvlyax+MGUqUE\u002Faw1rypeVTA08vSgSI+UcLK3OhGCYofE6JflufXzMW5+tzTid\u002F03fJbqh+2tn48ewAF0nOCQwG5nrCjLr7I8Nc0+DELwmNUYgZRmzo5+gC0SjsPYGBiA2BjPvgdvt615PK4p3ecZYpru0zTiOqV7SiM+pwkWy\u002FL89+\u002F1H1sEKp4UUg\u002FpAAAAAElFTkSuQmCC","#636360",.6,"#5c5c27","#bcbcb8",2.93,"#84847c",.63,"#b2b24c","Objects with personality_SKeenan.png","images\u002Fhh000x49\u002Fproduction\u002Fd2e9231143d65f746753d8051276a230a38a643d-925x1177.png",550963,"mMKrKvxrYn57FCdPKIXTdmGDyD940JOw","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002Fd2e9231143d65f746753d8051276a230a38a643d-925x1177.png","5825fad6b72d","e78ffeee3cf8","e3a81dc055500","Despite its models of property and personhood, and the empires built upon them, English law has never been able to maintain a sharp distinction between things and persons. This essay explores some of law’s more curious and at times barbaric means for separating persons from things, subjects from objects. What emerges is a wide-ranging history of conceptual ambiguities and inconsistencies, in which objects seem often to have more personality than human persons. What it means to be a person in such a context is an open question to which law’s only answer is its violence.","601f67dae6b5","e68c27ab300c","aa2030ec3e55","a686dceec92a","2ad803001dc2","1df02600ff50","4dab26d4308f0","f83fc5ef664f","d44643c12df7","03437ee25019","07ddc734cebf","From the deck of an Australian military ship paused on waters south of Indonesia, Behrouz Boochani watched as officers used a stationary machine gun to fire two holes into a small white fishing boat, which sank and disappeared into the ocean.","463405371537","3d4b944cc88f"," It was the winter of 2013. Boochani had boarded the fishing boat at an Indonesian port some days ago. Together with his fellow passengers he was attempting the treacherous maritime journey to reach Australia, where he could apply for asylum. But this was not to be. After sinking their boat, execution-style, the Australian military transported the passengers to remote island prisons where they were to be detained indefinitely. Australian border patrols continue to sink boats found smuggling migrants towards its borders. Extending the same logic, the European Council President has proposed that boats be captured and destroyed in North Africa before they can be used to carry people across the Mediterranean.","f2fcf7fc6798","10585bd34a6f"," This proposal has not gone ahead, largely because migrant boats are little more than repurposed fishing trawlers. It is difficult to discern when an innocent fishing boat becomes a guilty smugglers’ vessel.","f5b63eedc1a0","9cd043c2b559","daf2849d8b06","b2be909993070","Do ships have personalities? Seafarers have long believed so. Ships are christened, have working lives, husbands and sisters; they are able to enter contracts and be sued in their own names.","f5942fa0e264","b431a3178db3"," Over three centuries, ships carrying slaves across the Atlantic were regarded as legal persons while their human cargo were categorized principally as things.","469f698f8799","30cf80727d38"," Both ship and slave oscillated between person and property, as law’s metaphysical power could transform inanimate objects into persons, and human beings into things. The Australian government’s execution of Boochani’s ship, followed by its detention of his body in a cage where inmates are regularly sprayed with pesticide,","a264b83ec3f8","294c02267067"," suggest that the oscillating power of law to transform thing into person and vice versa continues today.\n","7a6cdbf86b15","40f106e2d2c80","Despite its models of property and personhood, and the empires built upon them, law has never been able to maintain a sharp distinction between things and persons. For example, law’s metaphysical power today imbues corporations and select rivers with personhood, polices nations on the basis of algorithmic apparitions, sacrifices migrant boats to the sovereign, and makes newly built homes into haunted houses. But if inanimate objects have personalities, what distinguishes them from us? Why is it that law continues to move the line which divides persons from things?","3bbc77fffc92","aeea8c5c060f0","b6f0d4dd15e8","9512dfa10a7f0","Anglo-European legal constructs of property and personhood rely on a sharp distinction between person and thing, subject and object, culture and nature. For John Locke, the natural world was an object waiting to be properly used by “the civilised part of Mankind.”","cc84339b35da","e6d0dcfae12e"," Every such man “has a property in his own person” which he could mix with the natural world by productively labouring upon it. For Locke, productive labour was equated with enclosing the land, meaning “civilised men” could come to own any land “in the state of nature” that they enclosed. Though different from Locke’s subject-object distinction, Georg Hegel’s starting point for his theorisation of property also assumed a clear separation between persons and things external to them.","5379e3ae30fd","820d88a130aa"," While the idea of persons as controlling, masterful subjects in stark contrast to everything else that is categorically wild or lifeless around them, took hold in Anglo-European laws of property, this distinction has always been conceptually and practically unsustainable.","e43c312ade2c","9a3f1520c4f7","6fdf31b2f689","c436196f0bec","From around 1200 until 1846, it was a principle of English law to hold animate and inanimate objects responsible should they be involved in the accidental death of an adult human person. Such objects could be declared deodand, meaning, “that which must be given to God.”","4fa536b2a450","fb170ddb7079"," Objects found to be deodand were understood as being evil and thus imbued with divine power.","e5fa013f9036","023188149f4f"," For example, in a case from 1272 in which a man who had climbed into a church belfry and then fallen to his death, the ladder was declared deodand.","3a6ae06c350a","d3269b2b4dd0"," Having been deemed an accursed object, the ladder would be forfeited to the sovereign as the earthly representative of God.\n","7d4d6bbd8490","0c377b7c00f70","The law of deodand was ill-defined and flexible, and scholars today continue to debate its definition, purpose and meaning. Though some courts and dictionaries suggested that to be deodand, an object must have moved to cause the death, in practice the judgment was often applied to stationary objects such as the ladder. Key to an object’s capacity to be deodand was whether the object was real or personal chattel property.","a532916b59c6","7b05956e1a23"," Under feudal English land law, the sovereign had jurisdiction and ultimate ownership over real property, thus land and matter affixed to it could not be given up to the sovereign because such property already belonged to him. While it relied on this proprerty distinction, declaration of a deodand sat uncomfortably with ideas in property law wherein objects are assumed to be devoid of agency.","1ab589bb810c","1e1e5d9c8c0f0","26f41699a475","57d14d52ac3c0","Although the law of deodand was not formally adopted in Britain’s colonies, Colin Dayan argues that its logic—that objects could be evil and legally controlled through punitive measures—was an important precursor to the creation of the slave as a hybrid person\u002Fproperty category in the United States and the Caribbean.","169090ed3ba2","6ed6ceb3bed2"," The force of consciousness could already adhere to things, which could be sacrificed as a subject of law separate from their owners. The slave, like the deodand, was vulnerable to legal prosecution while being deprived of personality; seen as having a will to commit crime, but incapable of other forms of agency.","4ceb569dcc63","b831e19b043d"," In English law and its colonial iterations, there have long existed categories in which humans, animals and inanimate things coalesce.","c68e5d208784","935c6f1ae2d20","936394263404","c735c18fe9510","The impetus for deodand’s abolition in 1846 was the Industrial Revolution and its proliferation of railways and heavy machinery: highly profitable objects with a tendency for involvement in accidents causing adult human death. Deodand was now an impediment to high risk, high profit industrial 
32capitalist innovation.","9575b73ab18b","6cbc3fd99a12"," In London, members of Parliament debating the abolition of deodand celebrated the end of an irrational, absurd and barbaric legal practice. But are the legal practices which have come in its wake any less bizarre, barbaric or ambiguous on what separates persons from things?\n","657dcd58fb20","be9d7baa65120","Over the centuries, deodand had developed into a flexible legal tool, a way for local communities to process unexpected deaths for which there was no clear human culpability. In many cases deodand was used as a discretionary means by which to compensate the family of the deceased.","4c517b4900a9","968a2dcb2b25"," Rather than forfeit the evil object, its owner could instead be required to pay its monetary value. Coronial juries could order that this money be granted to the family of the deceased, without them having to launch separate legal proceedings. Though it had come to be used as a means of compensating death with money, the deodand sum was based on the value of the culpable object rather than that of the human life lost, which was regarded as too valuable to be calculated. The Fatal Accidents Act 1846 replaced deodand and rejected that view, putting in place a legal scheme which provided compensation for accidental deaths according to the financial value of the deceased person. Risk was to be rationalized and privatized to individuals and their families, and human life would be valued according to income level, calculated down to the final cent.","f99b1fbd5f43","234d9d89d0da"," Accidental death is now a profitable industry for insurance companies.","db4b96b516b4","1e5b467d31e00","f7b6273bddd2","ea50538fbe6f0","With the continued rise of the insurance industry, advances in actuarial studies, and the increased use of predictive technologies, persons matter less today than the algorithmically produced risk profiles which precede them. What damage might this risk profile do with an insurance policy, a credit card, a visa, a loan, an education, a hospital admission, a grant of parole? In the post-deodand era, persons emerge first as apparitions: projected profiles of who the law should target in the quest to minimise risk. Animated beings resembling these projected visions of danger and evil can then be stopped with force at the border, on the street, in their own homes. While deodand addressed harm that had already occurred, the insurance industry, the credit economy and risk minimisation policies address the possibility of harm before it has occurred. Many branches of law have now moved from a focus on the past to a focus on the future, with consequences for subjects, objects and all that lies in between.","99321f942745","859ce2e7479f0","0b4390a8795f","0bfdc8370c9c0","Is the predicted future capital raised by a corporation through the issue and subscription of shares more valuable than human life? Suicide rates increase after stock market crashes.","03406fef3c44","885b0dc4675f"," Anticipation of the risk profiles these shareholders are about to become, presents a future too horrific to endure. To be a shareholder is not to be in control of one’s shares, as ownership tends to otherwise presuppose. Legal anthropologist Bill Maurer argues that the definitions of property put forward by Anglo-European philosophers such as Locke and Hegel are of rapidly decreasing relevance in the context of late capitalist forms of property.","d8f0ae5c3828","bb40e70bcec4"," Studying the practices of commercial lawyers trading financial instruments on American securities markets in the 1990s, Maurer writes that:","eb756310dac1","02f1511581c00","924b287a3561","20b1b718acd60","twentieth-century lawyers, first, seek the abandonment of the property construct itself because they believe it places needless restrictions on securities transfer and capitalist expansion and, second, redefine the subject of property not as the bearer of rights but as a risk profile subject to the disciplinary practice of insurance. At stake is not merely a new definition of property but a new definition of personhood.","c9c9da65fa97","00331a29aa1b","ce9594e
32c392e0","ef7b188e3d14","fa36b60c79290","In this new scheme, it is objects that wield power over subjects, rather than the other way around.","54134f7d30c0","5998a1c60b570","e45833c8fe55","ed5df62070670","In the recent sub-prime mortgage crisis, law facilitated the eviction of 10 million human persons from their homes, which had been judged to be more valuable than them. For mortgaged homeowners, the object of property controls them as much as they control it: demanding that they stay employed and budget appropriately in order to meet the monthly repayments. Exploring this anomaly, Annie McClanahan explains that “for Freud, the fear of losing our valuable objects—a fear that defines the very fact of owning in the first place—manifests first as an anxiety that these objects have ‘an uncanny and secret intention of doing [us] harm.’”","4fa0f0ab0c1f","d9fe4920af3e"," The home can thus transform, for the indebted owner, into a constantly menacing enclosure: a carceral structure possessed by an evil spirit, seeking to rid itself of human presence through foreclosure.","f4923daa9c30","5ffddde7ba3c0","ab541d6396be","a978f9d124850","What does it mean to be a person in an era when objects have so much personality? Reflecting on modern law’s manipulation of the category of personhood, Dayan argues that despite law’s professed commitment to rational judgement, it is the supernatural that serves as \"the unacknowledged legislator of justice.\"","e4fa4d5d0052","77085d70a0cc"," Law today imbues houses with malicious powers against their owners, facilitates the complex journeys of abstract financial objects that are directly implicated in death and displacement, and executes boats carrying humans across borders. Legal personhood remains a mystical category, the bounds of which can only be discerned in the incredibly absurd and atrocious annals of the judiciary.","1b806ea75943","7a552887c604","19bb3ca1458d","b7f1a04fd8ae","d7ff2bf3f6eb","c7543f2aa812","47f295647fb90","ce95664f78eb","69166bb3756d","Behrouz Boochani, ","708ba9a49e36","No Friend But The Mountains: Writings from Manus Prison","fc6909e9e1a9"," (Picador, 2018), 77. ","67ba73ea77f7","f071358c4978","European Council, “Remarks by President Donald Tusk following the special European Council meeting on migratory pressures in the Mediterranean” (23 April 2015) ","acc4d612d967","d3bc82afd28c","European Council, “Remarks by President Donald Tusk following the special European Council meeting on migratory pressures in the Mediterranean” (23 April 2015) \nhttps:\u002F\u002Fwww.consilium.europa.eu\u002Fen\u002Fpress\u002Fpressreleases\u002F2015\u002F04\u002F23\u002Ffinal-remarks-tusk-european-council-migration\u002F (accessed 2 August 2019). ","1a709a214896","bdb3fb416349","Renisa Mawani, ","bf5ea3f52147","Across Oceans of Law: the Komagata Maru and Jurisdiction in the Time of Empire","dde14f44a480"," (Duke University Press, 2019) 79. ","cfa07a4bac58","f712eebf7e41","Ibid, 86. ","aff08731e8fb","3f5db340c730","Arash Kamali Sarvestani and Behrouz Boochani, ","659f198ef01a","Chauka, Please tell us the time","6efbba948a65"," (Sarvin, 2017). Jon Locke, ","3bce1fcdbe40","Two Treatises of Government","02264adcc0b6"," (Cambridge University Press, 1960). ","4c615817a0d0","d678eff24e5f","Hegel, G.W.F., Wood, A.W. and Nisbet, H.B. (eds), ","7f3da024a965","Elements of the Philosophy of Right","366c9d0e2f04"," (Cambridge University Press, 1991). ","983577647aa3","eb03264e943d","William Pietz, \"Death of the Deodand: Accursed Objects and the Money Value of Human Life,\" ","5cf241593706","Res: Anthropology and Aesthetics","0d1a85710299"," 31 (Spring 1997): 97-108. ","75db86e18614","1a8bffdff30a","Ibid. ","55273f73cce0","cfa68a8a91ce","Edward Kirton-Darling, \"Searching for Pigeons in the Belfry: The Inquest, the Abolition of the Deodand and the Rise of the Family,\" ","0abd86af7bd7","Law, Culture and Humanities","21378c9752bb","ff2de96847bd","14,","465f3902dff5"," no. 3 (October 2018): 439-461, 442. ","778c53cda672","3671b150e8a7","Pietz, \"Death of the Deodand,\" 101. ","bddd0b9b7d8c","f1d19079bd88","Colin Dayan, ","f7a5bc6fb4bf","The Law is a White Dog: How Legal Rituals Make and Unmake Persons","d4b10443532a"," (Princeton University Press, 2011), 122. ","ecd4a0b09f45","b8495e3fcf25","Ibid, 147. ","10d1bc41928e","e18356c6bfa3","Pietz, \"Death of the Deodand,\" 106. Kirton-Darling, \"Searching for Pigeons,\" 444. ","8c843c88f3fd","24bfc79321f8","Ibid, 445. ","a8d5ff3b055e","9e2d9b57e9f3","Wisniewski, Tomasz Piotr, Brendan John Lambe, and Keshab Shrestha, “Do Stock Market Fluctuations Affect Suicide Rates?” (13 July 2018) https:\u002F\u002Fssrn.com\u002Fabstract=3213334 (accessed 2 August 2019). ","f38d49eb28ca","55d1b4f2dd75","Bill Maurer, \"Forget Locke? From proprietor to risk-bearer in new logics of finance,\" ","1a2f62a9b311","Public Culture","7b646275534a"," 11, no. 2 (1999): 365- 385. ","b9dad3b7d1f3","e3d40b84e717","Ibid, 366. ","45d9e61905d4","a731664acc15","Annie McClanahan, ","192c59619488","Dead Pledges: Debt, Crisis, and Twenty-First-Century Culture ","62ccaaa63bdc","(Stanford University Press, 2017), 129. ","eb06c683f32f","047e312ae8e4","Dayan, ","49696334df98","The Law is a White Dog","32a61a0baab8",", 40.","a9e582e8bd7b","2019","8490854b669a","45f224b9a1d0","75891cfcb75b","4298af702eb3","b2cb3efb8e8e","67b36eee-8f42-4121-a163-0764abd1cd64","a8040b8c49a0","1c4d2833b264","f1513fac8a49","6988626d721d","57fc7a4bb22b","294d5563a98b","f6eade9b9cf1","d8cc3a1b2a3f","85dd567edb91","c148e63c6d63","a09afab46471","16d0c23b2722","3333ea66f4a3","objects-with-personality","Dolphins, Ships & Other Vessels","image-d2404f45e676a7994160f4987cb2113cc5c71562-3602x2397-jpg","d2404f45e676a7994160f4987cb2113cc5c71562","A black and white photograph of a harbour. There is a river in the centre surrounded by buildings and dark shadows. The reflections of buildings can be seen in the water. The sky overhead is cloudy. The photo is somewhat off centre, so the horizon line tilts down to the left. White poetic text in the bottom left corner reads “I exist in four dimensions \u002F Molecules scattering between elements \u002F depth \u002F width \u002F length \u002F and time.”",2397,3602,6.12,"2022-07-23T13:49:34Z","d259d6f3-80f5-4c11-9f3e-e2aebf04d1d8","4lb41RY4oyjdIXp35kDc1F","2022-12-04T00:38:52Z","4158f9f3516b","0cc87a59ccfc","Renèe Helèna Browne: ","d1724d5a8eb1","bf468261143c","7605a0d609a3","2d9b10d2334c","file-3d390db631d372301f57b8575c73b773e4c3b101-pdf","Before Law—Renee Helena Browne: T-Rex in Town","CjmRQ2KkGzKI8n5rhrZPJW","VFRfUr%M%fs;Rj~qofM{j[t7_MMyMyt7a}RPae%MRjRP",1.4143145161290323,2976,4209,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAOABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAQBBQj\u002FxAAjEAABAwQBBAMAAAAAAAAAAAABAAIDBBESIQUTFTEyQVGR\u002F8QAFwEAAwEAAAAAAAAAAAAAAAAAAAECA\u002F\u002FEABcRAQADAAAAAAAAAAAAAAAAAAABEUH\u002F2gAMAwEAAhEDEQA\u002FANKSV1LC7GWQNP2RpL99445YTNeW+bIkdlAQA3K2iReySpuKo4pxO2FvWO3uI9ipaRWrGl5SmnizAezdrObtCnJvw0fiEE\u002F\u002F2Q==","#6a3b4a",.05,"#5c2740","#d6a7b8",.35,"#f4b4d4","#ca84a4","reneehelenabrowne_drawing(1).jpg","images\u002Fhh000x49\u002Fproduction\u002Fc31bf417aea64d5a1f61979f4f00c33a02d4f72f-4209x2976.jpg",952083,"iaVODTYFNUYQ6eep98J05txeRYnZsEWd","https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fhh000x49\u002Fproduction\u002Fc31bf417aea64d5a1f61979f4f00c33a02d4f72f-4209x2976.jpg","d28d4766af65","3a8e432dfe72","21257d3545dd0","In this poetic narration, Renèe Helèna Browne muses on the figure of the T-Rex as an embodied form of abstraction, allowing us to think through and attend to the body, sex, gender and desire.","7275caae0545","e3a6cf30b512","86f7667d97050","Image Description: A hand-drawn picture of a T-Rex marching with determinacy. The page around it is blank. The linework is black and the inside of the drawing is pink. The T-Rex’s mouth is open in a roar. Its feet are flexed as if in mid-run, and its long tail, almost the length of its whole body, trails behind it.","770428c93db4","1f8e5bf58548","cbefcd4d47510","T-Rex in town","a023932f6751","4103a23b40e1","I want Trix to eat me. I want her to snatch my body off the floor, so fast I don't have the time to take my last breath. I want her to sink her teeth into me, tearing all the flesh from my limbs. I want her to swallow what's left and finish me off with a burp so loud she smirks in surprise with intense satisfaction. Or at least, that’s what I want to want here.","26bd6bec310b","233eaf8931030","9def29733340","cb422c24e3af0","I stand next to Trix's skeleton at the centre of this showroom and awe at her ass. It’s strung up 
32so high that together her vertebrates, anchored in taught chains, descend with the glide of a roller coaster destined for her low-laying open mouth. This mouth, full of large jagged teeth and no tongue, presents the clearest picture of her inanimate body. If I lean forward I can see the chains drilled into what partial bone was found. I can smell the sickly concoction of plastic, and foam, and paint, and glue, and filler used to make up what's missing. I can see how she’s been packed, and attached, and scraped, and fixed, and stuffed, and fucked with these materials. This skeleton is clearly very carefully fabricated. While monstrously rude in scale, Trix has been put back together with the polite precision of human fingers softly pressing filler into tiny holes of bone.","5323d1395918","1400a4ee4a720","I realize quickly that my want to feel total immersion here with this highly synthetic skeleton might be quite naive. I look up and notice she and I are surrounded by rooms built to tell the story of her life. In the one closest by, there’s a reconstructed nest that allows me to curl up inside as if one of her young. In another, there’s text and drawings illustrating the daily life of Trix’s species. I see a gift shop up ahead selling Trix-themed bits like backpacks and toys. I even spot a sign for food outlets located at the end of the venue with 'inspired menus'. This exhibition is perhaps not the most hopeful invitation to have encounters with a once living and feeling body that marked the earth as I do now.","5aba69a0d6a5","ada35687e6240","59550d3f1931","83601a2dcbbe0","I think about the dead buried in graveyards having similar pleas of connectivity. I read words like 'beloved husband' or 'darling daughter' on gravestones and assume that person in the ground was important to someone, whether their body is still a fresh corpse lying in a box beneath the soil, or withered and now a part of the earth. But unlike these bodies, Trix didn’t get to rest in this peaceful decay while longed for by the living. Her bones were immediately dug up, analyzed and kept safe, protected by their significance. She was then reattached to form these hovering life-like shapes of legs, a torso, a tail, a skull, and two little arms hanging in front of me now, elegantly puppeteering their threatening potential. Her body was found in Montana in 2013 and is one of the three most complete Tyrannosaurus rex skeletons in the world. I read in the exhibition handout that she had a tough time when she lived. Archaeologists note an infection in her right upper jaw. They say it’s possible this was a 'love bite' caused by a male T. rex while mating or that it occurred during a fight while protecting her young. With her head positioned so low to the ground, I lean forward to see how the infection festered its own route into the side of her skull.","71d47d4b6f68","8d544023233a0","36aa7bc05eb8","cb8f3b5b1e290","Eventually, after wandering around, unsure where to go, I walk into what is probably the least intimidating of the small rooms. It’s an almost empty square space with an exercise bike standing in the centre in between two facing wall-mounted tv screens. There's no information for visitors here beyond the words “CYCLE, FAST, don’t be her dinner” laid out as black vinyl on either side of the screens. So I do as I'm told, get up on the bike, and start to cycle. On the tv in front of the bike there’s an animated video of a long, luscious forest path. Sunlight dapples in between wind-swept foliage with blades of grass slow-dancing in its stream. Nothing else happens in this video clip, re-looping a couple times while I sit there, so I decide to quicken up my pace on the bike.","0e9adb92166d","59641c9033ae0","59d02aed9daa","2fd4719e99810","As I look deeper into the greens of the grasses, I hear an animal's footstep move in my direction. It’s slow at first, but then there’s growling, and I notice the steps increase the more I gain speed. I hear branches break in the distance and imagine this animal is forcing itself through the forest toward me. At times it seems to get extremely close. Its breath becomes so crisp I can almost feel it as the panting drives me on to cycle faster and faster. Sweaty and worn out, I slow down for a second and realize the animal's pace slows down too, mocking my unfit and unsure body. Looking behind me, I see my chaser is an animated similarly sweaty T-rex. Presumably this is Trix. Here, there’s no bone
32s visible, or steel chains holding her together, as earlier in the main showroom. The body in front of me now is agile and free. She’s moving impatiently in her formerly skeletal frame, now coated in a dazzlingly vivid purpley-pink flesh. She is beautiful and irritated. Her head swirls violently, similar to how I imagined her ending me earlier, as she paces along the path.","e5d9bdb1c335","abeee2e949b20","14513731db7a","e7763cf71c150","Trix always looms over me as a visceral spectacle of danger, forcing my body with 'flight' over 'fight'. The bike is supposed to enable me to flee her by reaching the serenity and safety of the path up ahead. But Trix never quite catches up. Instead, while running at high speed, jaws dripping with saliva in anticipation of the taste of my flesh, I realize I'm set up to perform a subject of fear. My body, akin to a hamster on a wheel, fuels its own cyclic formation and is forced to endure the unyielding proposition of becoming a dinosaur's dinner. The danger implied by Trix’s chase doesn’t bubble underneath a surface or peak at certain moments in the way carnivores hunt their prey typically in the wild. Here, I am presented with an animated killer that is unwavering in her suggested desire to catch me. But by cycling 'away' from her I am simply feeding the fear-flight response in myself.","a7fc6c2afb13","00dbfa0c9efe0","2cb785119b83","ee248773bf680","I know fear is a natural and important reaction in the case of an emergency. But I’ve also learned it can become a paradise for stagnation in my brain. I’ve spent years afraid of invisible dangers and visible escape routes, stuck in a middle ground akin to being on this bike where a life lived afraid becomes both the baseline, and only proposed outcome. The effort to cycle faster and faster, to end an unending story, is a false attempt at mastery in a world where an idealised existence is always on the horizon, but never quite reached. This room works as a constant reliving of this attempt. There is no allowance for momentary escape or possible change in a narrative, just ongoing, cyclical confrontation inside an addictive chase.","36906af99b22","7f0d2dc53fbb0","42c20837316d","86125c0398480","I’m invested in the proposition of what if that is central to science fiction, much more than I am in the tools of realism. I think what if’s can taunt my mind to explore itself in spaces previously unentered and elasticate otherwise solid pieces of thought. It asks me, you, anyone in a new, or proposed new, encounter to consider how my, your, our reality can exist next to another, or itself be some other way. In trauma however, what-if is the only tense and time. It’s where anxiety holds control of my brain and I stay still, hidden alone, afraid of any potential threats. It's not a space for new consideration or sharing or for alternative realities. It’s just this static story, crackling away inside my head as I lay under the covers scared to climb out.","149b287819a8","f175fcca69200","20d1b62d41e9","1ca43f846aa00","By performing for me with a mask of terror, and continually reintroducing the human as her meal, Trix is set up to insist on an idea that I must constantly feel fear. Which I, as a visitor, so quickly comply with in an exchange for what the exhibition describes as \"the natural world”. Whether I travel back 66 million years to find it, or get stuck in the non-linear swirling of anxious thought, the potential threats of existence are offered as the only option for living. I think I naively assumed this exhibition would provide me with proposals for a shared existence with Trix that were not predicated on suspending me back in the timeless, airless space of unhinged fear. But instead, it built so heavily on the foundations of realism, that the potential freedoms of an imaginary world were unable to live.","191d02582f86","cab712def7fe0","de76d4d14e81","a087f43d0eab","0eaf5241834f","file-605b03781a0b1805b6f9d14324a4cd7710812c9a-wav","898f0b88d222","6bb6adfc62a8","9930479a1eec","0db49a968825","34bf4b225741","1e23ae0322e9","84dfc9163b61","ebd8dc288e3d","4ea223066b71","This text was written with editorial support from Esther Draycott and Aaron Goddard.","a034deed1a3b","2020","4988516120b3","075d738485e8","58ef5cbf6b89","60ebf40eaec9","42dffe1d587c","794599dae8e1","b9cdb63a0aec","2487f229846d","(English; 11 minutes)","fe5fcc795b57","06e1e5c6-b9c1-4122-b035-2be62cce5b62","0c5fed70fe61","84c0356f8f36","7a0deb62-93bf-43f3-8d14-2890e7abd287","c44448ff900e","b5de039732e1","26d2dbf641ea","9009e044d350","6cc8bdb1744a","3d02b528a225","33463bcd097b","93e0c49f26bc","b191fc5c11ed","03bb33713204","f9842041eec7","t-rex-in-town","55LNa4uSPsATMu1sInyNeF","V68p}y~V56F|D%tRR*oM-p-p009a^k,:.7%2-pfk9F9G",1.3333333333333333,1080,"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAPABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAUDBAf\u002FxAAhEAACAQQCAgMAAAAAAAAAAAABAgMABAURBiETMRJBcf\u002FEABUBAQEAAAAAAAAAAAAAAAAAAAIB\u002F8QAGREAAgMBAAAAAAAAAAAAAAAAAAECEWEx\u002F9oADAMBAAIRAxEAPwDHMrioMnNaz4WJ5YZX0wVfVWrnjFvcYcz2c6LNCSDGx0Tr2KQ8d5vf4Xj1zjICvjkfyK3x7DftJZc3kZ7VoGuWEbSGUgdEsfZ3QXcG1FR0kLRlm2QCDqilI3990VaCf\u002F\u002FZ","#444c34","#c39f96","#f5e687",.1,"#a47277","#f4405c","The Rebel Body_Still 4.jpg","images\u002Fhh000x49\u002Fproduction\u002Fb04292d82a152761b383e2470b00c38
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