Militarized Dolphins

These are my field notes from an excellent essay on the strange history of military dolphin experiments.

http://www.orionmagazine.org/index.php/articles/article/5503

Dolphin’s militarized

They could be very useful as antipersonnel self-directing weapons. They could do nocturnal harbor work, capture spies let out of submarines or dropped from airplanes, attacking silently and efficiently and bringing back information from such contacts. They could deliver atomic nuclear warheads and attach them to submarines or surface vessels and to torpedoes and missiles.

Dolphins and Other aliens:

dolphin laboratory could provide a model system for “breaking through” to a nonhuman mind. In the era of Sputnik this meant actual extraterrestrials, which may sound crazy now, but these issues lay on the cutting edge of national concern in those days: if we met the little green men (or, more likely, started receiving radio signals from deep space that looked to carry nonstochastic levels of information), what would we do?

One of these visionary “Dolphins” was a brilliant young Harvard astrophysicist named Carl Sagan, who made his way down to St. Thomas several times in these years to meet Lilly’s dolphins and muse about alternate forms of life in the cosmos.

If dolphins prove as intelligent as the initial studies suggest, then “for a long time presumably they will be in the position of the Negro races in Africa who are attempting to become Westernized”

see “we shall not be moved” blog entry.

Gregory Bateson visits Lilly:

Bateson laid out a sweeping theory of cross-species language development: human beings, in his view, possessed a language disproportionately preoccupied with stuff. This was our joy and our pain, since the evolution of such thing-centered linguistic abilities had gone hand in hand with the extraordinary material culture of Homo sapiens, from moldboard plows to supersonic cruise missiles. Yet in Bateson’s view this same evolution had left us with a grotesquely impoverished intelligence in the domain of social relations: those intersubjective complexities, he averred, “are very poorly represented in language and consciousness.” Homo faber was, in this sense, “stunted,” and the consequences, for Bateson, were clear: war, social conflict, pervasive psychological maladjustment.

Permit a human-sized intelligence to develop over millions of years in a highly social animal, which—on account of its aquatic evolution—possessed no hands, and thus no real capacity to manipulate a material culture, and it was reasonable to hypothesize that the cognition of such a creature would be radically, fundamentally, pervasively social. Theirs would be a language not of things but of beings. As Bateson put it to Lilly, “If I am right, and they are mainly sophisticated about the intricacies of interpersonal relationships, then of course (after training analysis) they will be ideal psychotherapists for us.”

/See in ecology of mind chapter: Problems in Cetacean and Other Mammalian Communication.

Bull in a china shop...

When fables, proverbs, and idioms come to life, it is a sign of an animal revolution in the making... they warned us these days would come:

"The animal escaped from an auction market next to GB Antiques Centre in Lancaster, Lancashire, on Monday and barged its way into the shop, which was packed with 200 people.

Police had to shoot the animal in order to save customers and stock - china and all. It was herded to an area of the centre and blocked in using two antique organs before a police marksman opened fire. A woman was treated in hospital for a bruised shoulder after the incident. 'Hundreds of items will have been destroyed, at a cost running into thousands of pounds,' Mr Blackburn said."

Really, the owner could have invited the bull for tea. Where is his hospitality? Is it reserved for humans alone, and only for select humans...not very hospitable then is it? The absurd idea of inviting the bull for tea once it is in the china shop is a figure for saying: what does the animal want and why don't we think of its desire, which is to say, why can we not be hospitable. Here think of Derrida on hospitality:

it [hospitality] already broaches an important question, that of the anthropological dimension of hospitality or the right to hospitality: what can be said of, indeed can one speak of, hospitality toward the non-human, the divine, for example, or the animal or vegetable; does one owe hospitality, and is that the right word when it is a question of welcoming – or being made welcome by – the other or the stranger as god, animal or plant?”

Beasts terroised Julius Caesar. Now the are back... in Devon

This was the front page headline for The Times April 22, 2009 as I arrived in Liverpool to give a talk on animal incidents at the Animal Revolution symposium at Hope Liverpool.

The article is actually a good political history of cattle. It notes taht the last auroch died in the royal Jaktorow forest in Poland. Heinze Heck conducted Nazi experiments to genetically back-breed modern cattle to the aurock wildness: "The heard has Herman Goering, the head of Hitler's Luftwaffe, to thank for its existence. Goering hoped to recreate a primeval Aryan wilderness in the conquered territories of Eastern Europe" (15).

The Heck cattle were imported into Devon by Derek Gow, a conservationist who also led the fight to re-introduce the beaver into the UK (after several hundered year without the dam animal). He brought them over from a anture reserve near Amsterdam where 600 Heck cattle roam. The animals are particularly fast and a bit agressive. Gow "intends to breed tehm, selecting the more placid animals that are less likely to react to curious pekinese as though it were a maurauding carnivore." Backbreeding to an "original" but breeding out the agression of nature... a curious shifts in standards here for the benefit of humankind.

nonhuman tones

Marcus Coates and Chrome Hoof are teaming up at The Coronet Theatre on Friday June 5, 2009.
Does the animal revolution have a music? Would this be it?

Like a note from the future, the already formed hauntings of future animal messages arrives to us in protean forms. Who are these carriers of the animal futures? not men, quite, nor animal but suffused with chrome, electricity, fur, and wobbling voice they come.

Swine Flu and Cross-species contagions

Having some time ago written in Technologies of the Picturesque about the anxiety of innoculating humans with cow pox to cure small pox, I've often mused on cross-species contagions. Jared Diamond in Guns, Germs, and Steel sees European adaptation to livestock diseases over the centuries as key to the Euro invasion of the Americas. Native American populations unaccostumed to these animals and their diseases died as a result of this germ warfare.

Today, we are all susceptible: avian flu, swine flu.... We've used pig parts to enhance humans--pig hearts, harvesting pig parts to fit in us. Now, the connectedness to swine has, like a return of the repressed, come back to haunt us (in ways similar to mad cow disease affecting humans). Spawn, spore, rhizome. I am Legend. We're woven into the animality of animals as they to us beyond cultural appropriations.

The Enemy Within--Hedgehogs

The Colbert Report recently released the news: Hedgehogs are the new terrorist threat. They carry a number of incurable diseases that can be passed on to humans. We have seen animals pass on diseases to humans before, plagues and infestations. The hedgehog burrows its animality within the heart of our domesticity. Beware.

INTERSPECIES art show

Can artists work with animals as equals? Interspecies uses artistic strategies to stimulate dialogue about the way we view the relationship between human and non-human animals, in the year of celebrations of Darwin's birth 200 years ago.

Private view 6pm, Friday 23 January 2009
at Cornerhouse, Manchester, UK
70 Oxford Street, M1 5NH
Exhibition open
24 January - 29 March 2009, Tue - Sun

www.artscatalyst.org

Interspecies comprises new works by four artists - Nicolas Primat, Kira O'Reilly, Antony Hall and Ruth Maclennan, and existing pieces by Rachel Mayeri, Beatriz Da Costa and Kathy High. All the artists in Interspecies question the one-sided manipulation of non-human life forms for art. They instead try to absorb the animal's point of view as a fundamental part of their work and practice.

Kira O'Reilly presents an action/installed performance featuring herself and a sleeping female pig, Delilah, Falling Asleep With A Pig, taking place at the private view on Friday 23 January, and on Saturday 24 January. The work addresses the ethics of human and non-human animal interaction, acknowledging the implicit ambivalence in the appropriation of animals as a resource. The artist will inhabit a gallery redesigned for the comfort and welfare of a pig. At some point the pig and/or the artist will sleep. Documentation of the event will be shown in the exhibition.

Nicolas Primat is the only artist in the world that specialises in working with monkeys and apes in collaboration with primatologists. He will show video works resulting from his residencies at the Primatology station, CNRS, Marseille, working with baboons, at the Pasteur Institute, Cayenne, Guyana, working with Saimiris (squirrel monkeys) and at the Animal Park of Apenheul, Holland, working with Bonobo apes.

Anthony Hall's work ENKI allows electric fish and humans to commune on the same level, avoiding the use of language as such; instead stimulating a shared empathy through physical connection. The project explores the possibilities of cross species communication and human to fish relationships, in particular the electric fish. Is it possible that a symbiotic relationship between human and electronic fish can be effected through passive and active electronic media?

Ruth Maclennan’s work for Interspecies explores the relationship between a bird of prey and the human being who trains it. Like eagles and falcons, the symbolic life of the hawk exceeds its ‘natural’ life, which is itself encouraged by human intervention—in breeding, nesting and the habitat. This is the latest stage in a project that looks at people, architecture, the city, and landscape, from the perspective of a cyborg ‘hawk-camera’.

Two existing works will also be shown in the touring exhibition: Rachel Mayeri's Primate Cinema, which casts human actors in the role of non-human primates seeking mates, and Beatriz Da Costa's PigeonBlog which provides an alternative way to participate environmental air pollution data gathering, equipping urban homing pigeons with GPS-enabled electronic air pollution sensing devices.

INTERSPECIES Events at Cornerhouse

Sat 24 January, 2 – 4pm
Artists’ Open Forum
Nicolas Primat, Antony Hall, Ruth Maclennan, Rachel Mayeri and Beatriz da Costa
Join us for this open forum, a unique opportunity to meet the artists and discover more about the ideas behind Interspecies.

Sun 25 January, 4pm
Kira O’Reilly in Conversation
Join performance artist Kira O’Reilly and curator Rob La Frenais, as they discuss Kira’s exhibition piece in relation to her work on sleep and dream research with humans and pigs.

Mon 26 January, 6 - 8pm
Wed 28 January, 2 - 4pm
Workshop: Primate Cinema – How to act like an animal
Participate in a performance workshops led by Interspecies artist Rachel Mayeri, exploring how primates communicate. Through discussion and video clips, learn about animal behaviour in the wild and in cinema and find out about primatology. You will get the chance to engage in physical theatre techniques and learn how to improvise movement and social interactions as non-human primates.


Cornerhouse, 70 Oxford Street, Manchester, M1 5HN
Box office: 0161 200 1500
Opening hours: Tues – Sat: 11.00 – 18.00 Thurs until 20.00
Sun 14.00-18.00
e: info@cornerhouse.org
www.cornerhouse.org

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The Arts Catalyst
Toynbee Studios
28 Commercial Street
London E1 6LS
UK
e admin@artscatalyst.org
www.artscatalyst.org

The Arts Catalyst commissions art that experimentally and critically engages with science. We bring together people across the art/science divide and beyond to explore science in its wider social, political and cultural contexts. We produce provocative, playful, risk-taking projects to spark dynamic conversations about our changing world.

When good animals go bad (an ongoing story)

I should like to contrast three modes of engagement with animals: appropriation, contact zone, and animal revolution:

1. We know appropriation well and see it often in the state of domesticated animals. We see it too in the way in which we "weigh" upon the earth and cause the extinction of other species or a change in habit and habitat of these species (see Michel Serres Natural Contract regarding "weighing" on the earth and Ursala Heise Sense of Place and Sense of Planet). Looking at Susan Stewart's On Longing and the souvenir she writes: "Such objects allow one to be a tourist of one's own life, or allow the tourist to appropriate, consume, and thereby 'tame' the cultural other" (146). The same could be said of relation to animals by which we appropriate them or become tourists of their worlds.

2. Contact zone. I've written on this in On the Surface using Mary Louise Pratt. Haraway mentions this as well in When Species Meet. The idea here is creating a pidgen language for negotiating umwelts.

3. We see evidence of the animal revolution when "good animals go bad," when the domestic bites the (Heideggarian) hand that feeds it and when the friction of the animal world does not allow for appropriation. The revolution creates noise such that the pidgen language is jammed and translation fails.