Rendering 8: Culinary rendering.

Rendering(1): Recursive ray-tracing

Toward the beginning of Animal Capital, Shukin offers what she calls a ‘double entendre’ of ‘rendering:’

Rendering signifies both the mimetic act of making a copy, that is, reproducing or interpreting and object in linguistic, painterly, musical, filmic, or other media (the technologies of 3-D digital animation are, for instance, called ‘renderers’) and the industrial boiling down and recycling of animal  remains (p.20).

I have to disagree with both sides of Shukin’s double entendre – which I’ll call, for convenience’s sake, rendering(1) and rendering(2) - and indeed with the very notion that it can be so easily called double: as she herself recognizes, rendering “comprises much more than the logics of representation and recycling that I have singled out” (p.24), and hence I have to read rendering as a multiple entendre.

But I take issue even with her double formulation of the problem, even in spite of its recognition as an incomplete definition of the term.

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Derrida, naked.

Heidegger vs. Capital

The first bit of Nicole Shukin’s Animal Capital inspired me to go back to Derrida’s fantastic, beautiful text, “The Animal that, Therefore, I Am (More to Follow)”  - or in the original, which plays off the dual sense of Je suis as both ‘I am’ and ‘I follow,’ “L’animal que donc je suis (à suivre).” You can get this paper through JSTOR; for anyone interested in questions dealing with animal life, it’s the ideal starting point for getting into Derrida’s thought, not only on this particular topic (further developed in his book The Animal That Therefore I Am), but on ethics more generally. It also has the virtue (?) of focusing largely on the hilarious image of Jacques Derrida, naked, being watched by his cat. As you might imagine, this makes it a bit more accessible than, say, one of his myriad essays on Husserl.

I felt compelled reproduce here, at length, one of its most poignant passages – in part as a counterpoint to Shukin’s rather odd critical reading of the piece, but mostly just because it represents Derrida at his finest:

If I began by saying, “the wholly other they call the ‘animal,’ and for example a ‘cat,’” if I underlined the call [appel] and added quotation marks, it was to do more than announce a problem that will henceforth never leave us, that of appellation – and of the response to a call.

Before pursuing things in that direction, let me confide in you the hypothesis that crossed my mind the first time my gaze met that of a cat-pussycat that seemed to be imploring me, asking me clearly to open the door for it to go out, as she did, without waiting, as she often does, for example when she first follows me into the bathroom then immediately regrets her decision. It is moreover a scene that is repeated every morning. The cat follows me when I wake up, into the bathroom, asking for her breakfast, but she demands to be let out of that very room as soon as it (or she) sees me naked, ready for everything and resolved to make her wait. However, when I am found naked under the gaze of what they call the animal, a fictitious tableau is played out in my imagination, a sort of classification after Linnaeus, a taxonomy of the point of view of animals. Other than the difference mentioned earlier between poem and philosopheme, one can only find, at bottom, two types of discourse, two positions of knowledge, two grand forms of theoretical or philosophical treatise regarding the animal. What distinguishes them is obviously the place, indeed the body of their signatories, that is to say the trace that that signature leaves in a corpus and in a properly scientific, theoretical or philosophical thematics. In the first place there are those texts signed by people who have no doubt seen, observed, analyzed, reflected on the animal, but who have never been seen seen by the animal. Their gaze has never intersected with that of an animal directed at them (forget about their being naked). If, indeed, they did happen to be seen seen furtively by the animal one day, they took no (thematic, theoretical, or philosophical) account of it. They neither wanted nor had the capacity to draw any systematic consequence from the fact that an animal could, facing them, look at them, clothed or naked, and in a word, without a word, address them. They have taken no account of the fact that what they call animal could look at them and address them from down there, from a wholly other origin. That category of discourse, texts, and signatories (those who have never been seen seen by an animal that addressed them) is by far the most frequent. It is probably what brings together all philosophers and all theoreticians as such. At least those of a certain epoch, let’s say from Descartes to the present, but I will say later why the word “epoch” and even this historicism leaves me quite uneasy or dissatisfied. Clearly all those (all those males but not all those females, and that difference is not insignificant here) whom I will later situate in order to back up my thesis, arranging them within the same configuration, for example Descartes, Kant, Heidegger, Lacan and Lévinas, belong to this quasi-epochal category. Their discourses are sound and profound, but everything goes on as if they themselves had never been looked at, and especially not naked, by an animal that addressed them. At least everything goes on as though this troubling experience had not been theoretically registered, supposing that they had experienced it at all, at the precise moment when they made of the animal a theorem, something seen and not seeing. The experience of the seeing animal, of the animal that looks at them, has not been taken into account in the philosophical or theoretical architecture of their discourse. In sum they have denied it as much as misunderstood it. Henceforth we can do little more than turn around this immense disavowal whose logic traverses the whole history of humanity, and not only that of the quasi-epochal configuration I just mentioned. It is as if the men representing this configuration had seen without being seen, seen the animal without being seen by it, without being seen seen by it; without being seen seen naked by someone who, from the basis of a life called animal, and not only by means of the gaze, would have obliged them to recognize, at the moment of address, that this was their affair, their look- out [que cela les regardait].

But since I don’t believe, at bottom, that it has never happened to them, or that it has not in some way been signified, figured, or metonymized, more or less secretly, in the gestures of their discourse, the symptom of this disavowal remains to be deciphered. This figure could not be the figure of just one disavowal among others. It institutes what is proper to man, the relation to itself of a humanity that is above all careful to guard, and jealous of, what is proper to it (p.382-383).

Rendering 7: The imprimatur of the organism

Image from The Economist

The rather gruesome cartoon above – depicting an excess of ‘life as surplus,’ or a delirious overproduction of vitality beyond any clinical use-value – links to an interesting article from The Economist on a perhaps-surprising convergence between biotech and the technology that Will Turkle was describing in his talk at last week’s technoscience salon: the development of 3D bio-printing by a company called Organovo (ha, ha). As the article describes:

Organovo’s 3D bio-printer works in a similar way to some rapid-prototyping machines used in industry to make parts and mechanically functioning models. These work like inkjet printers, but with a third dimension. Such printers deposit droplets of polymer which fuse together to form a structure. With each pass of the printing heads, the base on which the object is being made moves down a notch. In this way, little by little, the object takes shape. Voids in the structure and complex shapes are supported by printing a “scaffold” of water-soluble material. Once the object is complete, the scaffold is washed away.

Researchers have found that something similar can be done with biological materials. When small clusters of cells are placed next to each other they flow together, fuse and organise themselves. Various techniques are being explored to condition the cells to mature into functioning body parts—for example, “exercising” incipient muscles using small machines.

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Complexity digest

Noting the frequent mentions of complexity theory and its relationship with both the life sciences and economic theory in this week’s reading (Life as Surplus), I thought I’d post a link to this e-newsletter that I subscribe to called Complexity Digest. Always fascinating stuff, and it’s a fantastic resource for keeping up with new scientific papers in a wide range of fields relating to complexity and complex systems.

And in terms of Life as Surplus: quite an interesting book, this, and one which only a third of the way in has already clarified some important things for me (particularly about international finance and US debt) and drawn some pretty intriguing connections. And how excellent is the differently-coloured page for the ‘Intermezzo?’ That’s an idea I’m absolutely going to steal some day.

So I’m enjoying it so far, in spite of having made the mistake of reading a rather unfavourable review before looking at the actual text – one where the author, while saying a number of nice things, calls Cooper’s usage of the term surplus “at best unclear and, at worst, positively obfuscatory” – and in spite of a few silly mistakes (like when she refers to the Santa Fe Institute as located in California)…

Microphony?

Just came across this intriguing story on BBC.co.uk:

A micro-ear could soon help scientists eavesdrop on tiny events just like microscopes make them visible.

Initially, researchers will use it to snoop on cells as they go about their daily business.

It may allow researchers to listen to how a drug disrupts micro-organisms, in the same way as a mechanic might listen to a car’s engine to find a fault…

“We are now using the sensitivity afforded by the optical tweezer as a very sensitive microphone,” said Professor Jon Cooper from the University of Glasgow, who is heading the micro-ear project.

“The optical tweezer can measure or manipulate at piconewton forces,” said Professor Cooper. A piconewton is a millionth of the force that a grain of salt exerts when resting on a tabletop.

While many researchers use single beams of laser light to trap single beads, the micro-ear team hopes to use several arranged in a ring that will be able to surround and “listen to” an object of interest.

Ah, the pleasantly polymorphous practice of rendering…

Rendering 6: The days of miracle and wonder

“Medicine is magical and magical is art / the Boy in the Bubble / and the baby with the baboon heart”

- Paul Simon (cf. Haraway, Modest_Witness, p. 173).

I thought it was kind of interesting that Haraway started her chapter on the ‘virtual speculum’ with some lyrics from this great song – though we didn’t in fact read what she had to say about them – and this video in turn speaks to some of the issues of cultural appropriation at stake in Simon’s record… I just always enjoy it when a song I’ve always liked (but never really paid close attention to the lyrics of) turns out to bear some relation to questions I’ve been thinking about in contexts like this.

I’m curious, though, about one point in Haraway’s text, and I want to do nothing more than put the question out there: is she arguing that this idea of ‘Life Itself’ – which she apparently ‘mutates’ from Sarah Franklin (see Haraway, Modest_Witness, p. 133), and with which we’ve been toying all term – in fact designates a bad, reductive, even gene-centric concept (perhaps as opposed to ‘liveliness’)?  Because this was by no means how I’d been rendering the idea in my mind, and rather than offering a missive of my own I’d simply be interested to hear what others thought on this point. It seems to me that while ‘rendering life itself’ - qua the rending and deterritorialization of the body’s expressiveness into informatic form – no doubt has some problematic associations, the concepts and the practice can readily be read otherwise… as in Paul Simon’s rather upbeat number, but also in Natasha’s text, which seems to stress instead their affective and affirmative dimensions.

‘The secret life of chaos’

Someone mentioned this BBC doc in comments on another one of our class blogs, so I thought I’d link to it here. A friend of mine had sent me the link to it a while back, and I’ve only just taken the time to watch it. Pretty great, in my opinion. Lots of good stuff on the mathematics of self-organizing dynamic systems, nonequilibrium thermodynamics, and the development of chaos theory, if you’re interested in those sorts of things, and it referred me to a Turing paper on self-organization in biological systems that I’d never heard of before. Comes with some of the almost-inevitable simplifications of televised documentary, but I enjoyed it. The first segment is embedded below along with the third, because that one starts with some really excellent visualizations; you can cue up all six at this link.

Tensegrity.

Kenneth Snelson's 'Needle Tower' (1968)

Rendering 5: Rendering death.

Joseph Paul Jernigan, 1954-1993

Joseph Paul Jernigan, 1954-1993

I’m going to be relatively concise this week, and simply direct you all to these two links, which I found tremendously affecting.

The first is a scan of the Offender Information card from the Texas prison system for Joseph Jernigan, the convicted murderer whose corpse went on to furnish the raw material for the Visible Human Project. This card is the source of the photograph above.

The second is a list of final meal requests which includes Jernigan’s, whose request is listed rather cryptically as follows: “Two cheeseburgers, french fries, tossed salad with 1,000 island dressing and iced tea (refused last meal).” We can only speculate what this means, but it seems Jernigan may have requested the meal in question, and then refused it, for whatever reason. In any case, the other Death Row inmates who refused any last meal are listed simply as having refused it or asked for no meal (ie, there is no specific food request listed). Perhaps – and here I’m being still more speculative – there was some provision in his agreement to donate his corpse that demanded he have no food in his stomach. Read more

Following on Foucault.

Genealogy.

Family tree of Herzog Ludwig I of Württemburg.

Last week Natasha posted a comment which I’ve only now had a chance to really consider and offer a response; said response spiralled somewhat out of control, and so I’ve turned it into a post and offered some further musings on and citations of Foucault. She asks (or ‘you ask,’ depending who ‘you,’ reading this ‘now,’ are):

consider for a moment a not so subtle shift. what if what foucault intends with his notion of “the conditions of possibility of knowledge” — the conditions of possibility of what can be seen, said, imagined or felt — are precisely the thickly entangled forces, the tethered specificities of the social-political-historical anatomies articulated in a moment, an era, a period…and precisely not the transcendental, a priori persistences advocated by Kant…what shifts in your articulation above? indeed, how is it that foucault’s methodology becomes influential, pivotal really, for a new generation of scholars constructing deeply contextual histories of the socialities of knowledge, and the socialities of science?…what opens up in your reading of an archeological method with this added context?

Not so subtle indeed. It seems that this very shift implies – at least insofar as I read it – the movement from archaeology to genealogy.

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