Nature is not natural and can never be naturalized — Graham Harman

Friday, December 26, 2014

Meanwhile, Tommy...

Poor chimp. The judge is being a bit circular, no, saying that he has no legal standing? Of course he doesn't, because you just determined that he's not legally a person.

I prefer the Argentinian lawyers. They left law and scientism out of it, and went straight to philosophy.

Nonhuman Person the shape of an Argentinian orangutan. Thanks Amanda!

"Lawyers for Argentina's Association of Professional Lawyers for Animal Rights (Afada) said Sandra was ‘a person’ in the philosophical, not biological, sense"

--correct. Nice one lawyers. Gets rid of a whole slew of unnecessary ideology. 

Science can never decide on this stuff. It only proceeds from implicit assumptions that it can't turn around and question. 

If you let science be the arbiter you are actually letting scientism be the arbiter. And since scientism tends to be default Easy Think materialism, you know what's going to happen. The orangutan has no self-concept, because you can't see it or touch it, or because no one has a self-concept at all. So “it” (definitely an it) doesn't have rights. 

Personhood just can't be found using instruments, but you can think it. 

Official Recognition that Some Nonhumans Have Culture

Thank you UN Convention on Migratory Species...

That best of bees thing is getting more and more implausible by the day...

Morton on Zooetics (video)

This is an excellent piece of work. And luckily I was able to string a sentence together about the event...

Wednesday, December 24, 2014

Wordsworth Yule

I just got this from the Wordsworth people, in particular, Jeff Cowton. Nice one!

Zooetics Video

Here it is--four hours of Christmas Eve de-anthropocentrism. Love it.

Everything about this conference and the visit to Lithuania were perfect. What a lovely place. I got seriously inspired.

Here's the Zooetics page with abstracts and details. I like Jae Rhim emerging from the Command Module...

The video features me, Jae Rhim Lee (of the mushroom death suit!) and architects John Palmesino and Ann-Sofi Rönnskog). You'll see immediately how the thing worked so synergistically. For instance, it was as if Jae Rhim had been imagining artistically some of the things I think about philosophically.

Wednesday, December 17, 2014


Poetics, zoo ethics, zoo aesthetics ...

It's all here and I strongly urge you to get to Kaunas for the free talks on Friday.

Vilnius is breathtakingly charming in the winter air. Lights. Amber. Gediminas Urbonas and company are absolutely wonderful.

Monday, December 15, 2014

Nice Things in Finland (cfp)

I'll be there! 

Call for proposals:
4th Colloquium on Artistic Research in Performing Arts 2015 at the University of the Arts Helsinki, Theatre Academy

                                  11th - 13th of June 2015

Call for proposals is open until 31st January 2015
Pre-colloquium will be arranged 10th June 2015.
The Performing Arts Research Centre (Tutke) at the Theatre Academy, University of the Arts Helsinki welcomes artistic researchers at doctoral and post-doctoral levels to take part in the fourth biannual colloquium on artistic research in performing arts.
CARPA4 reflects on performing practices from the point of view of their non-human factors. What if performance is not considered a typically human behavior anymore, expressing and reflecting the intentions and needs of human beings, but a point of encounter and a collaborative relation between heterogeneous elements, components or materials, like bodies, organisms and objects?
For this purpose we kindly encourage you to submit a proposal for presentation addressing one or more of the topics below:
1.      How can a human performer find its place within performative arrangements, where the logic does not serve human purposes anymore? What to do with a body or bodies that are not anymore “mine” or “living”?
2.      In which ways can different life forms in their wide diversity enter the scene and deconstruct it?
3.      Beyond “object theatre”: What kind of objects does a performance consist of? How can performance create, liberate or reunite objects?
4.      What have “they” in common? What kind of ethical or political thinking is born out of non-human encounters in performing arts?
The colloquium approaches its topic area collaboratively and performatively trying to make the different viewpoints encounter. It seeks common points of contact, resonating surfaces, and rhythmic interference between its heterogeneous but constituent parts.
The theme of the colloquium is born out of a need and a dream. The need concerns our attempts to make performing arts capable to respond to ongoing planetary crises and changes. The dream concerns the way performing arts might one day serve us a means for reflecting on cosmic processes, and taking part in them.
Invited Keynotes:
Professor Peta Tait FAHA
La Trobe University, Australia

Peta Tait is Professor of Theatre and Drama at La Trobe University, Australia, and was elected a Fellow of the Australian Academy of the Humanities in 2013. She publishes on the practice and theory of body based arts and performance and phenomenology, and cultural languages of emotion and affect most recently in relation to species. Her recent books are: Wild and Dangerous Performances: Animals, Emotions, Circus (Palgrave Macmillan 2012); Circus Bodies (Routledge 2005); Performing Emotions (Ashgate 2002). She is also a playwright and recent performances include: Eleanor and Mary Alice at the Heide Museum of Modern Art in 2014, and co-written translated play, ‘Portrait of Augustine’, produced in Brazil, 2010-12. She was a Visiting Professor at the University of Helsinki in 2010 with the Erasmus Mundas masters in International Performance Research and was a panel member on the ARC ERA HCA 2010 and 2012. Her forthcoming book is Fighting Nature

Professor Timothy Morton
Magdalen College, Oxford

Timothy Morton is the Rita Shea Guffey Chair in English at Rice University. He is the author of Nothing: Three Inquiries in Buddhism and Critical Theory (Chicago, forthcoming),Hyperobjects: Philosophy and Ecology after the End of the World (Minnesota, 2013), Realist Magic: Objects, Ontology, Causality (Open Humanities, 2013), The Ecological Thought (Harvard UP, 2010), Ecology without Nature (Harvard, 2007), seven other books and one hundred and twenty essays on philosophy, ecology, literature, food and music. He blogs regularly at
Professor Yvonne Hardt
Hochschule für Musik und Theater, Germany
Yvonne Hardt is a professor for dance studies and choreography at the Center for Contemporary Dance at the Hochschule für Musik und Theater in Cologne, where she directs the MA program of dance studies and develops teaching formats combining the practics and theory of dance.
After studying theatre and history in Berlin and Montreal, she did her Ph.D. with the DFG-research group for the political dimensons of Ausdruckstanz. Before coming to Cologne she was an assistant professor at the Department for Theater, Dance and Performance Studies of the University of California Berkeley. Besides her research, she has constantly been working as dancer and choreographer and created various pieces with her company BodyAttacksWord (Jellyfisch and Exuberant Love, 2006, TR_C_NG, 2007). Her research focusses on the methodological development of dance studies as an interdisciplinary science, especially historical methods at the interface of theory and practics as well as body- and gender therory, dance and media and postcolonial theory.
Among other things she is co-editor of Choreographie und Institution – Zeitgenössischer Tanz zwischen Ästhetik, Produktion und Vermittlung (2011) und Choreographie, Medien, Gender (2013).
Professor Boyan Manchev
New Bulgarian University

Boyan Manchev is a philosopher, Professor at the New Bulgarian University and Guest Professor at the Sofia University and at the HZT – UdK Berlin. He is also former Director of Program and Vice-President of the International College of Philosophy in Paris. His actual research, which advances the perspective of a radical mobilism and materialism, is focused on the fields of ontology, philosophy of art and political philosophy. The ontological concept of metamorphosis, the practical concept of disorganisation and the aesthetic concept of alteration are central for his transformationist approach.
Manchev is the author of six books and numerous articles, including Logic of the Political, 2012, Miracolo, 2011, L’altération du monde: Pour une esthétique radicale, 2009,  La Métamorphose et l’Instant – Désorganisation de la vie, 2009. He has edited  Rue Descartes 64: La métamorphose in 2009. His book The Body-Metamorphosis (Sofia: Altera, 2007) deals extensively with contemporary art, performance and dance.
He has participated as theorist, dramaturge and performer in theater and contemporary dance projects, including Tim Etchells and Adrian Heathfield’s The Frequently Asked, Boris Charmatz’s expo zero and Poster session “Mouvement” for the Festival d’Avignon and Ani Vaseva’s Frankenstein, A Dying Play and S.
Call for proposals is open until 31st January 2015. All proposals in the form of abstracts (no more than 250 words) should include:
1.      name(s), title(s), position(s), email address(es), short bio (max. length 100 words)
2.      purpose statement
3.      research topic or research questions
4.      any practical requirements (space, equipment and so on)
5.      form of the presentation:
-        lecture
-        lecture-demonstration
-        video
-        poster
-        performance
-        installation
-        discussion
-        experiment
-        other
The spaces available are auditoriums of different sizes, studios with concrete floor and rehearsal spaces with wooden floor. Also, available for use is the large lobby area of the Theatre Academy, which is a public space. We will take into account the type of presentation you have proposed and allocate the limited spaces accordingly, but if you have specific needs please let us know.
We will be able to provide you with necessary technical equipment and help, and while there's a lot we can accommodate, please keep in mind that we cannot provide resources for large, full-blown performances. But feel free to propose and ask! Regarding equipment you need, please let us know also this in advance, even if you just need a video projector for your computer.
The length of any form of presentation is a maximum of 30-45 minutes including discussion.
Submit your proposals no later than 31st January 2015 here  
Applicants will be informed of their acceptance by 20th February 2015. Presenters are asked to confirm their participation and send in the completed paper by 6th March 2015.
Registration for the Conference opens 15th April 2015.  
Conference Fee:
1st April-31th May: 90 € (no lunches) / 120 € (includes lunch on Thursday, Friday and Saturday) 
From 1st June 2015:105 € (no lunches)/ 135 € (lunches included)
Doctoral students at TeaK: 40 € (no lunches) / 52 € (lunch in Suomenlinna)
Further information on the proposals and the conference, please contact:

Poison into Medicine

The environmental art of Liina Klauss. Should've posted these way before this.

Taking plastic flotsam and jetsam and finding the rainbow mandala in it? Oh I think so.

OOO Dream

I dreamt about OOO. Not only dreamt about it, but dreamt about giving a lecture on it. And not just that--the lecture was totally coherent! And accurate!

I was showing that:

A Shakespeare sonnet (sorry don't know which one) was talking about all kinds object.
This talk was recursive to the poem talking about itself as an object.
Thing theory (Bill Brown) says that you glimpse the thing when it malfunctions.
This sonnet malfunctions (in that charming Shakespeare way that is just so brilliant).
Yet for OOO, you don't get to access the thing at all, even when it malfunctions. Something about the poem is withdrawn.


Saturday, December 13, 2014

"We've Got the Best, Most Sophisticated Online Consumers in the World"

...all right BBC, every time this sort of thing happens (heard just now on the Today show), this will now happen:

Morton on the Singularity (interview)

Eight minutes of almost hilarity. It's about twenty minutes in.