In the last two modules of Process and Difference in the Pluriverse we focused on Timothy Morton’s Humankind (2017) and Anne Fairchild Pomeroy’s Marx and Whitehead: Process, Dialectic, and the Critique of Capitalism (2004). During the time that lapsed between them I traveled north of San Francisco to Bell Valley Retreat Center in Mendocino Valley where the 5-day immersive course called “Nature and Eros” was held. The latter was/is co-taught by PCC professor and evolutionary cosmologist, Brian Swimme, along with Kerry Brady, founder of Ecology of Awakening. It was a wonderful context in which to deepen into the ideas we’ve been exploring this semester in Process and Difference, for “Nature and Eros” was posed by our guides as an invitation to let go of our conditioning in the techno-industrial sphere of expectation and ceaseless productivity.
Many people complain about the lack of immediate contact with fellow students and teachers in the online learning format. This is sound, but it is certainly possible to connect with others despite the disjuncture in space-time. We miss the subtext and subtly of presence, but in return we are gifted time to curate more rigorous reflections on the content we entangle with together. To curate, and to absorb the wonderful musing of others. The philosophical tenor of Process and Difference—at once emancipatory and implicating—was one that intrinsically honored each individual perspective in the class and encouraged us to feel like, together, we were all creating something as we entangled our thinking-feeling on the discussion board. Of course, I’m speaking for myself, and though I think my point about the philosophical tenor is true, it is equally true that this particular group made the class what it was.
I’m waxing on this because in the text below you will multiple times run across a certain Julie, a peer of my mine from the course whose insights had such an impact on my thinking. I encourage you to check out her website, Sacred Futures, and tangle yourself in the magical ideas she so inspired me with this semester.
Morton’s writing is electric with mischief and I always love thinking-with tricksters. But—having grown out of shock for shock’s sake—I appreciate mischief more (when the stakes are high) if it’s done with care. Like Julie, I critique Morton for his carelessness. His nonchalant use of the word “consumerism” (at least in the reading we’ve been assigned so far!) is like saying “BOO!” in a really scary way! I can imagine how some sensitive, well-meaning readers might drop Humankind and take off running from such a spooky prospect, such a ghoulish book. Therein, though (in the shimmering, in the flapping of the pages as the wind reads, rushing through it), whispers an alternative way to understand what he means.
Reading Pomeroy in between the two Morton selections led me to ask myself, “What kind of economic model would allow us to treat “objects” (e.g. goods, products, matter in general) concretely?” That is, with reverence—recognizing their spectral quality. Pomeroy is more concerned with misplaced concreteness as it relates to human creativity. She expresses her anthropocentrism clearly when she criticizes capitalism’s misplaced concreteness: “because all ontological being is both physical and conceptual, this [abstracting physical iteration from creative conceptuality in the dialectic sweep] is an abstraction even on the level of ‘things.’ Granted it is not as misplaced an abstraction as it is for the human being.” (Pomeroy, 157)
If we agree to release the correlationist copyright, to turn up the volume on the correlatee such that its appearance has some measure of command over us, and if we accept—in some fashion—Morton’s ontological flattening, then something of the sacred returns to what has hitherto been disparaged as “mere matter.” The problem with Pomeory’s ecological Marxism is that it exceptionalizes the metabolism of species-being human. Marxism can’t fully acknowledge ecology because doing so necessarily means trouble: all symbionts hover between help and harm. Morton wants to stay with the trouble and so he rightly affirms consumerism as the specter of ecology. Why? Because implicit in consumerism is the reality of humankind’s metabolism. This is why he describes rejection of consumerism as “acceptance-in-denial,” for if we are living, we are no doubt consuming, metabolizing Nature as we continue to become. (Morton, 69)
Our well-intentioned reader is, perhaps, hit with dissonance. Here is where my critique comes in: why not use another word?! Page 66 could have been an early (perhaps he overturns it later?) opportunity for Morton to re-name or re-frame consumerism (similar to Haraway with response-ability/responsibility) in a way that directly (rather than obliquely) connects it with our metabolic complicity and the ambiguity that enshrouds it! Those of us who have wandered down the rabbit-hole of “ethical consumption,” hoping we might eventually figure out the most just way to eat, might say “amen” to Morton when he declares that “we are caught in hypocrisy. We can’t get compassion exactly right. Being nice to bunny rabbits means not being nice to bunny rabbit predators.” (Morton, 69) Despite my balking, maybe Morton’s ambiguity about our ambiguous economic existence (organizing according to enjoyment) is part of his method of making sure we get it. I’m happy to hang on throughout the rest of his book for that, but somebody else might not have that kind of faith!
At the last Bioneers conference I sat through an astrological sermon with astro-poet Caroline Casey. As one might expect, she story-told our ecological moment in lieu of the planetary dance, but there was one thing she said that especially stuck with me. It rang in my ears (a tinny sound) as I took in Morton’s avowal of consumerism: “Animism is about manners.” Manners imply a code, a system of cosmic ethics. Revolving around what, though? I liked Haraway’s use of the Navajo word “hózó,” or “right relations,” an aim so general that it needs a process-relational context to give it shape. I’m heartened by what Julie mentions in her post about Morton’s tricky way of inspiring care on behalf of our common home. It’s something one can feel in Morton’s literary effort, I think, if it’s attended to with care. But that takes some effort! Perhaps a little more effort than it would have taken him to re-contextualize consumerism apart from the pathological form it takes in the Capitalist-Rat-Race?! Who knows! Maybe I’m way off!
Monday I returned home from the PCC retreat course (this time held at Bell Valley) led by Brian Swimme and Kerry Brady titled “Nature and Eros.” That “Nature” and “Eros” appear as two distinct ideas was protested by one of my peers as an arbitrary separation. Does Nature not imply Eros? To some it may, but that entirely depends upon who is thinking Nature and their associative context for the word. We can understand the separation as a practical way of communicating to those of us who, though we may endeavor to reach beyond a world view of severance, nonetheless remain constrained by it.
Thus, Morton’s neologism, “The Symbiotic Real,” that undulating, excess of spectrality we vibrate-with. Though I may have re-thought the concept of Nature in a way that more or less resembles Morton’s concept, Promethean neologisms like his help to push bifurcated associations to the periphery. Who knows, maybe his term will even replace “Nature” one day! I find his style of eco-philosophy refreshing. Sensitive and sardonic at once, I think-feel him relating from a place of real insight, the only place wherefrom truly practical wisdom can flow.
Take his notion of Ecoclaustrophobia—the paranoid flipside of Sunny Interconnection—and its truism: “All tactics are hypocritical,” from which he derives the necessity for communism(s) as opposed to a universal communism that would reign over all beings. “Something is always missing from the ethical and political ecological jigsaw,” he tells us, “which means that there can be no top-level political form to rule them all” (Morton, 163). Another great example is Morton’s reframing of violence as “micro-violence(s)” and his re-locating of its causal character, formerly a quality of the indifferent whole (Mother Nature, or The Universe Machine), to the “fragile contingent.” Solidarity means nonhumans always impinge on us, and vice versa.. “Ecological awareness means that in any political grouping something is necessarily excluded,” something is unknown, eaten, stomped upon—“there is a fundamental fragility and inconsistency about any set of political beings.” Solidarity post-severance—“the structural position of wishing it could encompass more [beings]”— is tantamount to feeling compassion (Morton, 179).
But how do we get there?
What must we do?
Refreshingly sardonic and sensitive, Morton also makes things confusingly simple. I say confusing because our engrained ways of being make thinking solidarity so expensive! So much energy, so much mental toil spent in the effort to heal the trauma of severance! But subscendence thinking refuses allegiance to explosive Overlords, even down to our introjected General.
So what must we do? We must queer our action!
Morton’s treatment of authenticity reminded me of Module 8 when I expressed my thoughts about it. “Authenticity,” I mused, “must have more to do with at least witnessing (if not honoring) impulse, inclination—how desire speaks itself through “my” participation in rhizomatic entangling.” Authenticity, for Morton, is not an Easy Think Substance, it is, rather—and for all things—“futurality, a not-yet quality that resides in front” of things (Morton, 132). It is that spectral shimmering of which we all partake.
The reason I began this post with “Nature and Eros” relates to authenticity and queered action directly: “Do what you feel” we were instructed (in so many words). Indeed, we did have a loose schedule, but the disclaimer at the beginning of the course was that we needn’t comply with it. Our primary task was to queer the action/inaction binary by becoming aware of how, as Morton describes during his kundalini references, “this energy [i.e. what is bifurcated as the the binary of in (mind) against out (body/world)] appears to be moving, all by itself” (Morton, 184). This was SO hard for me! For so many of us there! Miles away from city-milling, the hustle still hollering in our minds, the General shouting “Should this, should that, SHOULD SHOULD SHOULD!”
Stop shoulding me, Mr. General.
Shut UP, mr. general!
But as Morton tells us, “one doesn’t act awareness, it happens to one. It seems to have its own kind of existence, form its own side. It is not something you manufacture.” Awareness is like the phantom feeling we’re left with after a day frolicking with ocean waves. Like that somatic echo of back and forth, “awareness oscillates or undulates or vibrates all by itself, neither doing or feeling exclusively, neither active or passive” (186). Timothy Morton the Mermaid. Multi-scalar consideration reveals that seemingly static objects like rocks—all things—exhibit “a ground state…of shimmering without mechanical input” (Morton, 187). Brian Swimme might designate this as an expression of the cosmological power he calls “Radiance.” All things radiate their existence as light, coming into resonance in certain ways, reverberating with each other in communion.
To enter into resonance is to realize compassion; to behold the being who impinges on us in all its numinosity; to be inspired toward “kindness.” How do we get there? Along with Morton, Matt tells us in his lecture that consciousness doesn’t have to do. We’re already in the space-time cave of aesthetic causality. Just let go. As Rilke says in his poem “Go to the Limits of Your Longing,”
“Let everything happen to you: beauty and terror.”
Let go! Allow! Notice what arises! As in Julie’s Poetic Dimension—play!
How confusing! But, ah, what a relief…like waking up from the Nightmare of Reality (as the General would have it), and instead, waking back into another Dream, the Dream so many of us remember nostalgically as the promise of childhood. If indeed “philosophy requires a new theory of action…to help us slip out from underneath physically massive beings such as global warming and neoliberalism,” simply blinking open our Child’s Eyes to the fragility of certain Subscendent wholes might restore that early understanding of magic (Morton, 188). Of the world-shaping power of fictions—now you see me, now you don’t!
But to really get anything “done,” the letting go comes first—so that we may feel, as we become attuned, solidarity in all its treacherous and blissful ambivalence. Let us open to our erotic undulating in the larger undulation that is the Symbiotic Real. Nature-and-Eros.
Björk is sharing Dreams of Humankind’s spectral potential for enjoying maximized pleasure among other specters in the Symbiotic Real. Notice how in the video the typical delineations of animal//plants/machine/land/human/etc. are strangely enmeshed. A utopic vision of mucus membrane blissing-together.
But like Morton, Björk knows that the Symbiotic Real means pleasure and suffering. The next song on her album (Utopia) reflects, as I interpret it, the sobering affirmation of both and all the woes of history that we face post-Severing. “Body Memory” is about getting real, even as we Dream up possible futures:
“First snow of winter
I’m walking hills and valleys
Adore this mystical fog
This fucking mist
These cliffs are just showing off
Then the body memory kicks in
I mime my home mountains
The moss that I’m made of
I redeem myself
I’ve been wrestling with my fate
Do I accept this ending?
Will I accept my death
Or struggle claustrophobic?
Fought like a wolverine
With my destiny
Refused to accept what was meant to be
Then the body memory kicks in
And trust the unknown
Surrender to future”
Morton, T. (2016). All Objects Are Deviant Feminism and Ecological Intimacy. In K. Behar (Ed.), Object-Oriented Feminism (pp. 65-81). Minneapolis: University of Minnesota Press.
Pomeroy, A. F. (2004). Marx and Whitehead Process, Dialectics, and the Critique of Capitalism. Albany: State University of New York Press.
Whether we designate its emergence as before or simultaneous, a Cosmopoetics is essential to the development of a true Cosmopolitics. A politics without a poetics—I imagine—would be a schizoid performance; truly split. Regardless of the rhetoric, I (and I extend this to an invitational “we”) typically know a genuine performance when I feel it. Truth (however contingent) is much more than the neutral enumeration of facts. This is Bruno Latour’s call to arms! We are at war! The bounty? A conceptual framework:
Instead of a difference in principle between the world of facts and the world of values…we see that we have to become accustomed to a continuous linkage of actions that begin with facts that are extended into a warning and that pointtoward decisions…This claim of descriptive neutrality made it possible to forget that one never plunges into description expect in order to act, and that, before looking into what must be done, we must be impelled to action by a particular type of utterance that touches our hearts in order to set us in motion — yes, to move us (49).
I wouldn’t be surprised if some of Latour’s critics disparaged his writing as hyperbolic; to such statements I would say: you missed the point. And what is the point? The needle that pricked Sleeping Beauty’s finger, the needle that sent she and the rest of the Kingdom to sleep! The point is the historical severance of Nature from Human Culture, Fact from Value. But “from now on,” Latour resounds throughout Facing Gaia(in an electrifying mission of italics and exclamation points), “if you speak of any part of the Earth to humans…we all find ourselves in the same boat — or rather on the same bus” (48). What does this mean? This means the claim to neutrality is null: there is no view from nowhere. And so, to combat the climate skeptics, the climate scientist must be—simultaneously—poet (or join ranks with one) and honestly fuse the pathos of her/his knowledge with its description. As Latour echoes Haraway, scientists must become response-able. They must aesthetize themselves.
But if there is no longer a neutral point of view from which to derive the laws of Nature, what happens to objectivity? That we find ourselves in a moment of collective dissonance—wherein facts are held against “alternative facts” and the word “natural” blurs into head scratching as we shop for groceries—indicates the need for a redefining of objectivity: “objectivity,” Latour tells us (in footnote 14 on page 47), “is neither a state of the world nor a state of mind; it is the result of a well-maintained public life.” Implicit in his understanding of objectivity is a process-relational metaphysics. Facts are facts because the measurements from which they derive stand firmer than other statements against objections arising from their community of origin. Knowledge, as Matt described per an aesthetic ontology, consists of appearances all the way down. There is no final, gleaming jewel of Truth at the core of the Universe that we are to extract and possess! Rather, in a Pluriverse, “Truth” is always contingent; partial; situated. Moreover, it is multi-faceted, necessitating (until, perhaps, a more synthetic means of communicating arises) constant translation across the different streams of knowing (e.g. poetic, religious, etc.).
In the quest to realize a Cosmopoetics, the central question one must ask—I think—is: what does it feel like? The profuseness of my post this module expresses the freedom I have progressively grown into over the course of this semester as we make our process-relational descent. What does it feel like to live into a process-relational metaphysics? For me, this means no longer being so stressed out when I read philosophy, or when I go about learning anything for that matter. Released from the illusion of objective Truth as Neutral, I can trust that my partial perspective is enough, that Knowledge is not something I am to conclusively uncover and possess (and maintain, in competition against other perspectives). Rather than fear exposing my thinking to others, I can look forward to and genuinely engage with others, knowing that my partial perspective is always informed by the metamorphic field and enriched by entangling with the perspectives of others. I have nothing to hide, nothing to lose, for everything I am is forged in relationship anyhow! Each of us possesses a unique vantage point, a unique jewel never to be repeated. We are all little bubbles of seafoam, sparking forth to shine out a never-to-be-repeated perspective. What a gift to be in philosophical dialogue! To be in community in general!
What does it feel like? It feels like much more than I wish to take any more of your precious time describing. I can’t speak for anyone else, but for me, Latour’s suspenseful (and hilarious) prose had the aestheticizing effect he calls us ourselves to create. Suffice it to say that I feel mobilized, broken of the spell of Providence. If Gaia is sensitive, fragile, “touchy,” we must take care. I have begun to see the World (I still like the word Nature, especially if we extend Culture to all other forms of actual occasions) with new eyes. Enjoined back with “the family of things,” I feel like Aurora awakened, wiping away slumber crust, like when, in “Sleeping Beauty, all the servants in the palace, until then passive and inert, awoke from their sleep, yawning and began to move frenetically about — the dwarves and the clock, the trees in the garden and also the knobs on the doors. The humblest accessories henceforth play a role, as if there were no more distinctions between the main characters and the extras” (93).
Latour’s comparison of re-enchantment, of realizing the animation of the World (and, consequently, a partial de-animation of the ratiocentric human identity) with Sleeping Beauty was especially profound for me; it was the fairytale I connected most intimately with during a period of self-discovery and artistic transmutation. In 2016 I underwent a rite of passage in the process of making my capstone film, Areté Already, a project I consider to be the most mature example of my creative life and thought thus far. Through it I sought to ritualistically enact a movement from disenchantment to re-enchantment. My life has never been the same since. Eventually I will write more about it.
I spent the last weekend alone, saturated with Latour’s ideas, and went to Point Reyes where I had experiences that contributed more to the question, “what does it feel like?” Below you will find a video wherein I express those feelings as I recorded them in my journal during my time there.
Latour, B. (2017). Facing Gaia. Medford: Polity Press.
In module IV of Process and Difference in the Pluriverse, a course at CIIS being instructed this spring by Matthew Segall, we explored works by Anne Fairchild Pomeroy (Marx and Whitehead: Process, Dialectics, and the Critque of Capitalism) and William E. Connolly (Facing the Planetary: Entangled Humanism and the Politics of Swarming). In this video I muse about “techno-artistic” applications of the scientific and philosophical insights which point to our ontological entangledness. How might we better feel into the reality of our radical hanging together?
Joanna Macy’s “Milling” exercise from “The Work that Reconnects” workshop (the entire workshop is an example itself) along with Marina Ambravoić’s performance “The Artist is Present” are wonderful examples of “Subjectication.”
I ended up taking longer than I expected (of course) and didn’t have time to suggest some more examples of tangible techno-artistic experiments. Here are some ideas below:
Entangled hikes (hiking with a storyteller/naturalist), collabrative futuretelling (Haraway and her The Camille Stories), dramatized enactments (like Ghandi’s salt stunt, but specifically tailored to entanglement, poetry, personifying micro-modes within us (archetypal astrology).
I’m especially interested in creating some kind of collaborative-poetic-performance experiences that could be repeated (though always unique to the context) and which might be wonderful vehicles of transformation at demonstrations and other large events. Storytelling a bumpy, fragile cosmology of perspectives somehow… Anyone want to riff on this with me?
Though I maintain a healthy amount of suspicion, I tend toward an hermeneutics of faith and quickly fall in love with the ideas that saturate my life. How Forests Think is described as an anthropological work, but Eduardo Kohn’s radical thinking evades categorization. Because Kohn bypasses epistemological barriers—enjoining others in the ontological turn—one might consider this a work of speculative (yet grounded) philosophy. I would go further, though, and as you will discover if you have the time to read (or listen) to my words, and call it a work of art. Reading it, for me, was an experience. I intend for this website to be a home for ideas—those “qualities entertained as objects in conceptual activity [that] are of the nature of catalytic agents—”that build toward a re-enchanted worldview. Kohn’s ideas reintroduce our thinking to the world from which it came—a world of images—and invite us to recognize how the world may indeed be thinking through us.
Eduardo Kohn’s How Forests Think: Toward an Anthropology beyond the Human is an estrangement and a homecoming. As the subtitle reads, Kohn seeks to take anthropology—and his readers—beyond the human. But why should the study of what makes humans human concern anything more than us? Kohn’s answer, as with the entire book, is practical: “how other beings see us matters.” Immediately we recoil. An epistemic law has been broken. How can we presume to know anything about how another (nonhuman) being sees us? Kohn might simply say, “for our own survival.” To those of us living in cities or suburbs—even rural America—this answer might seem exotic. But to human beings who live on the edge of the Amazon Rainforest—like the Runa of Ávila, the subjects of Kohn’s ethnographic meditation—our speculative question is vital. It is a matter of life and death: those who sleep face-up are recognized by the jaguar as fellow selves, while those who sleep face-down risk being seen as her object of prey. This dilemma is how Kohn introduces his “analytic beyond the human.” Our ecological crisis is forcing us to make ontological assumptions that burst our sociocultural and historically-contingent bubble. Until now “our social theory…[, which]…conflates representation with language,”[i] has bound our thoughts within a complex whole. This so-called complex whole is the axiom of human culture, understood by many proponents of the linguistic turn to be resolutely closed—all our knowledge encaged by a matrix of exclusively human-wrought meaning. But upon considering the jaguar’s perspective, we release our thoughts into a wild flock.
The heart of Chapter One, “The Open Whole,” is Kohn’s restoration of meaning to the world. The human capacity for symbolic thought may be unique, but it is not ex nihilo. The semiotic philosophy of the “weird” Charles Peirce figures largely in Kohn’s work. Kohn says, though, that his approach is not one of merely applying Peirce to the forest, but one more of “allowing the forest to think through [him (Kohn), while]…also using Peirce’s framework.”[ii] Kohn borrows his working “agnostic definition” of the word sign from Peirce’s: “something which stands to somebody for something in some respect or capacity.”[iii] Human language includes indices, icons, and symbols, the last of which as Kohn has it, are slightly more removed from the natural world. Shooting up from the root system of icon and the stem support of index, symbols “refer to their object indirectly by virtue of the ways in which they relate systemically to other such symbols. Symbols involve convention.” As far as we know, humans are the exclusive users of symbols, but flowers don’t bloom from nowhere. To the extent that symbols rely on other forms of communication, signs can be seen to extend beyond symbolic language. Therefore, what we as humans can know and the range of beings we might commune with opens up.
The significance of asking how the jaguar sees us implies that we might grant the jaguar selfhood. And indeed, this is in line with Kohn’s definition of life as being “constitutively semiotic. That is, life is, through and through, the product of sign processes.”[iv] To Kohn, all life-forms represent the world in some way(s); life’s tendency to represent has a reciprocal effect of producing a perspective, that which observes the representation. The marriage of life and representation “allows us to situate distinctively human ways of being in the world as both emergent from and in continuity with a broader living semiotic realm.”[v] This is Kohn’s move to provincialize language as one unique way of making meaning among many along the landscape of the cosmos.
The predominant view in the social sciences is that we can only understand something by relating it to other things that make up a complex—but self-referentially closed—whole of meaning. This approach is the very reason for Kohn’s provincializing of language, for it shows how our thinking as human beings has been “colonized” by symbolic thought. Words can only mean something in relation to other words. And likewise, “we can only imagine the ways in which selves and thoughts might form associations through our assumptions about the forms of associations that structure human language.”[vi] But now, after the linguistic turn, we swerve again, this time “away from the internal analysis of social conventions and institutions towards the interactions of humans with (and between) animals, plants, physical processes, artifacts, images, and other forms of being.”[vii] Thus the Runian “word,” or sound image, “tsupu.” Similar to how we understand onomatopoeia, “words” that are really only translations of sounds into language (e.g. meeeeeow!), “tsupu” is an icon that refers “to an entity as it makes contact with and then penetrates a body of water.”[viii] Upon hearing this definition, Kohn says that people often “experience a sudden feel for its meaning.”[ix] This recognition across languages (the Runa speak Quichuan) punctures the closed whole of our colonized way of thinking and lets slip a sound of the world. Just like “meow,” the meaning of “tsupu” is not reliant on its relationship to other words for meaning.
By paying attention to certain instances, customs, or ways of knowing among the Runa, Kohn distills amplified generals of our shared world throughout the book. “Tsupu” is an example and so is the animistic orientation of the Runa (animistic, i.e., “the attribution of enchantment,” the capacity to make and interpret meaning, to “other-than-human loci”[x]). In Chapter Two, “The Living Thought,” Kohn explains the centrality of the animistic perspective to the Runa and its relevance for us:
People in Ávila, if they are to successfully penetrate the relational logics that create, connect, and sustain the beings of the forest, must in some way recognize this basic animacy. Runa animism, then, is a way of attending to living thoughts in the world that amplifies and reveals important properties of lives and thoughts…Paying attention to these engagements with the living thoughts of the world can help us think anthropology differently. It can help us imagine a set of conceptual tools we can use to attend to the ways in which our lives are shaped by how we live in a world that extends beyond the human.[xi]
Animism is not a romantic or even chosen approach to living for the Runa. It is necessary for survival. The importance of anticipating how a jaguar might respond to our behavior reveals the inherent futurity of semiosis—selves represent to continue living. “Aboutness,” writes Kohn, “—representation, intention, and purpose in their most basic forms—is an intrinsic structuring feature of living dynamics in the biological world.”[xii] The evolutionary process itself is driven by semiosis wherein selfhood extends to entire biological lineages and representation encompasses the process of adaptation. Biology thinks its way into the future. Relationality takes on a new meaning in this purview in that the “logic that structures relations among selves is the same as that which structures relations among signs.”[xiii] This is one way of understanding what Kohn means when he asserts that forests think. Living selves are the thoughts in the mind of a forest.
Chapter Three, “Soul Blindness,” discusses the relativity of identity among the ecology of selves that makes up a forest. As modeled by our relationship with the jaguar, the line between self and other is blurry at best. Self and object are co-constitutive. Kohn writes, “before living thoughts emerged on this earth nothing ever came to stand in relationship to a self as an object or as another. Objects, like selves, are also effects of semiosis.”[xiv] For Kohn, the soul is an intersubjective effect that emerges from communication between selves. To remain a self, one “must recognize the soul-stuff of the other souled selves that inhabit the cosmos.”[xv] In contrast, soul blindness refers to the loss of such a capacity. For the hunter, being able to distinguish prey from the larger environment is contingent on seeing the creature as a self. Simply put, “our lives depend on our abilities to believe in and act on the provisional guesses we make about the motivations of other selves.”[xvi] It is a tragic and dissonant fact that selves must consume other selves in order to live, and this dissonance is captured in the conversion of a self into an object. “To eat them as food,” Kohn writes, they must become “dead meat.”[xvii] Although most of us reared in industrial society are far removed from the production of our food, English names for animal products (i.e. pork, beef, veal) reflect the same necessity of abstracting from the selfhood of the once living creature now unrecognizable on our plates. Whether one is subject or object, essential to this chapter is Kohn’s point that “what kind of being one comes to be is the product of how one sees as well as how one is seen by other kinds of beings.”[xviii] What the Runa amplify for Kohn is the potential for an anthropology beyond the human to utilize a “self-reflexive defamiliarization” of natures rather than cultures; by “stepping out of our bodies and into those of other beings…we see a different world from the subjective, I, point of view of another kind of embodiment. We are able, for a moment to live in a different nature.”[xix] In wake of the Anthropocene, imagining into the selfhood of the world’s dwindling biosphere is of obvious importance.
To mitigate the loss of species occurring in our time we must sensitize ourselves to the needs of those nonhuman others we are so inextricably tied to. Chapter Four, “Trans-Species Pidgins,” explores the Runa-forest relationship for glimmers of that possibility. To develop an ethic of care “that does not simply project human qualities everywhere,” Kohn writes, “we must situate morality ontologically.”[xx] We may simplify our problem by understanding the human capacity for morals in relation to symbolic reference: “It [symbolic reference] requires the ability to momentarily distance ourselves from the world and our actions in it to reflect on our possible modes of future conduct.”[xxi] Morality, then, is emergent, and its roots are in value. All livings beings participate in value by discerning good from bad. Sensitizing ourselves to the needs of nonhumans “forces us to think beyond our moral worlds in ways that can help us imagine and realize better worlds.”[xxii] That the Quichuan word runa is equivalent to the English word person is a clue as to how. “Runa,” Kohn explains, “is used as a sort of pronominal marker of the subject position—for all selves see themselves as persons.”[xxiii] Here again is the distinction of natures versus cultures. Rather than attempt in vain to enter another closed whole (culture), the Runa model a way of slipping in and out of other bodies, becoming-with other natures. This is the opposite extreme of soul blindness. Both come with a cost; the former, a loss of our humanity, the latter, the solipsism of “monadic isolation.” Consider the Runian phrase runa-puma. If runa means person, then runa-puma refers to a person-jaguar, or person-predator. Our experience of meeting the eyes of a jaguar makes us into “beings who can see themselves being seen by jaguars as fellow predators, and who also sometimes see other humans the way jaguars do, as prey.”[xxiv] Implicit in this example is the importance either way of walking a middle path—if we identify completely as runa-puma, we may end up cannibals, but if we shirk the gaze of a jaguar, we may end up her meal.
In our struggle to communicate with other beings, we must grapple with the constraints of their unique semiotic modalities.[xxv] Chapter Five, “Form’s Effortless Efficacy,” builds on our wish to make contact by exploring “how certain configurations of constraint on possibility emerge and…the particular manner in which such configurations propagate in the world in ways that result in a sort of pattern.”[xxvi] This is what Kohn calls form. The decolonization of our thoughts extends to the status of form and challenges us to rethink what we might otherwise assume as something we humans make up. Kohn’s perspective is an anti-nominalist one, after all. Riverine networks of the Amazon are a prime example of this kind of immanent patterning in their “self-similarity across scale,” with their creeks and streams as fractal echoes of a basic form. Thus, navigating a river system is one way of being inside of and harnessing the “effortless efficacy” of form. Another is hunting. Kohn explains:
Because of the high species diversity and the local rarity of species and the lack of any one fruiting season, the fruits that animals eat are highly dispersed…This means that at any given time there will exist a different geometrical constellation of fruiting resources that attracts animals…that predators are, in turn, attracted to this concentration of animals further amplifies the pattern of distribution of life across the forest landscape. This results in a particular pattern of potential game meat…[xxvii]
Rather than expend energy and time hunting animals directly, Ávila hunters allow the formal patterning of the forest to think through them and follow it to those constellations of fruiting trees and game meat. Kohn’s understanding of form as something one is “inside,” “quite different from the push-and-pull logic we usually associate with the physical effort needed to do something,” is wonderfully evocative of concepts like wu wei (non-action) from the Daoist tradition.[xxviii] Kohn’s ethnographic artistry abounds in examples (e.g. dreaming, rubber-trapping, shamanic empowerment) of form that I enthusiastically encourage readers to discover for themselves.
Chapter Six, “The Living Future (and the Imponderable Weight of the Dead),” considers how an anthropology beyond the human might understand the paradox of life—its inherent futurity and mandate of death. The semiotic nature of life has representation concerned with survival; in Kohn’s words, “we all always have one foot (or paw) in the future,” but as he goes on to say, “this living future…cannot be understood without further reflecting on the special links that life has to all the dead that make life possible. It is in this sense that the living forest is also one that is haunted.”[xxix] What the Runa amplify for Kohn about the continuity of life is tied up with their relationship to the forest’s emergent spirit realm, the afterlife. The earlier translation of runa as person was a hint that it does not refer specifically to an ethnic group (ours and Kohn’s use of it as a proper noun is for the sake of communication). In fact, the Runa of Ávila don’t even identify themselves that way or any other. For them, runa has a much more general meaning:
“Runa” more accurately marks a relational subject position in a cosmic ecology of selves in which all beings see themselves as persons. “Runa” here is the self, in continuity of form. All beings are, from their points of view, in a sense “Runa,” because this is how they would experience themselves when saying “I.”[xxx]
“Death for the self,” then, as Kohn puts it, “is ineffable, for the self is simply a continuation of life. The self is a general…it is the experience of the death of others by the living that is so hard to bear, because it is what is palpable.”[xxxi] Kohn’s assertion that the self continues may seem strange to us, but as that reciprocal effect of life’s tendency to represent the world, self as defined by Kohn transcends any reductionist ontology that would terminate it at bodily death. When we stop to ponder our own deaths and arrive only at mystery we might nod our heads—how else could we be but in being? With the problem of death aside, I now turn to that ethereal future realm and how one’s relationship to it in the present determines one’s survival.
Like navigating a river, our relationship to the living future is participatory. In Kohn’s view, the spirit realm the Runa interact with is a co-creative emergence of Amazonia’s various denizens. Yet, while it is collaborative, it is also heavily saturated with the “all too human.” It’s formal logic, then, comes to reflect all of the forest’s historical (i.e. colonial) influence “and thus permits and constrains, who and how an I can be, at the same time that it provides the vessel for continuity—the survival—of that I.”[xxxii] For the Runa, “who have long lived in a world where whites…have stood in manifest dominance over them,” this often means becoming white.[xxxiii] Oswaldo, one of Kohn’s ethnographic subjects, gives an example as he recounts a dream for us in which appeared a “’menacing[, white] policeman’” whose “’shirt was covered with clippings from a haircut.’”[xxxiv] For Oswaldo, this dream—an intimation of the future—was initially interpreted as a bad sign, for he had understood the white policeman to be his own predator. But as things would have it, Oswaldo ended up occupying the position of the predator when he successfully killed a peccary in the forest later on. Kohn elaborates further,
That Oswaldo at a certain moment in the forest can—perhaps must—be a white policeman, involves the particular and sometimes disjointed and even painful ways in which some aspect of his future self reaches back to affect him from the realm of the masters…The spirit realm that emerges, as a product of a whole host of relations that cross species lines and temporal epochs, is then a zone of continuity and possibility: Oswaldo’s survival depends on his ability to access it.” [xxxv]
Aside from challenging our understanding of both positionality and causality, what the Runa amplify for us once again is the extent to which our selfhood—our survival—is bound up with the way others see us. There is much more to this chapter and to the spirit realm of the forest than can be dwelt on here, and so again, I encourage the reader to dive into Kohn’s artistry.
How Forests Think, a seminal work ten years in the making, naturally ends with an epilogue titled, “Beyond.” Kohn’s central aim was to think like a forest, that is, in images, and in doing so, make us over—take us beyond our “doubt-ridden human housing.”[xxxvi] Indeed, even in this review, we taste the bidden fruit of Eden and in some way re-member what it’s like to see nonhuman selves seeing us. Yet, paradoxically, we bite the apple and gain a more refined understanding of what it means to be human. It is all necessary, as Kohn heroically explains, for “if ‘we’ are to survive the Anthropocene—this indeterminate epoch of ours in which the world beyond the human is being increasingly made-over by the all-too-human—we will have to actively cultivate these ways of thinking with and like forests.”[xxxvii] Sadly, what is lost in the review of this artful book is the phantasmagoria of images—“be they oneiric, aural, anecdotal, mythic, or even photographic”[xxxviii]—that make it. And once more—rather than goad—I lovingly wish that you, the reader, find a copy in your hands one day, so that you might join in on its gift to posterity—our, hopefully, living future.
[i] Kohn, How Forests Think, 8.
[ii] Kohn being interviewed by Marshall Poe in New Books in Latin American Studies.
[iii] Kohn, How Forests Think, 29.
[iv] Kohn, How Forests Think, 9.
[v] Kohn, How Forests Think, 16.
[vi] Kohn, How Forests Think, 20.
[vii] Phillipe Descola, “All Too Human (still),” 268.
[viii] Kohn, How Forests Think, 27.
[x] Kohn, How Forests Think, 72.
[xii] Kohn, How Forests Think, 73-74.
[xiii] Kohn, How Forests Think, 83.
[xiv] Kohn, How Forests Think, 104.
[xv] Kohn, How Forests Think, 111.
[xvi] Kohn, How Forests Think, 118.
[xvii] Kohn, How Forests Think, 119.
[xviii] Kohn, How Forests Think, 120.
[xix] Kohn, How Forests Think, 126.
[xx] Kohn, How Forests Think, 133.
[xxii] Kohn, How Forests Think, 134.
[xxiii] Kohn, How Forests Think, 139.
[xxiv] Kohn, How Forests Think, 2.
[xxv] Kohn, How Forests Think, 148.
[xxvi] Kohn, How Forests Think, 156.
[xxvii] Kohn, How Forests Think, 163.
[xxix] Kohn, How Forests Think, 194.
[xxx] Kohn, How Forests Think, 200.
[xxxi] Kohn, How Forests Think, 211.
[xxxii] Kohn, How Forests Think, 213.
[xxxiii] Kohn, How Forests Think, 192.
[xxxiv] Kohn, How Forests Think, 191.
[xxxv] Kohn, How Forests Think, 200.
[xxxvi] Kohn, How Forests Think, 228.
[xxxvii] Kohn, How Forests Think, 227.
[xxxviii] Kohn, How Forests Think, 222.
Descola, Phillipe. “All too human (still) A comment on Eduardo Kohn’s How forests think.” Hau: Journal of Ethnographic Theory 4, no. 2 (2014): 267–273, http://dx.doi.org/10.14318/hau4.2.015
Kohn, Eduardo. How Forests Think: An Antrhopology Beyond the Human. Berkeley, CA: University of California Press, 2013.
Eduardo Kohn, interview with Marshall Poe, New Books in Latin American Studies, podcast audio, February 9th, 2014, https://itunes.apple.com/us/podcast/new-books-in-latin-american-studies/id425192236?mt=2
The first post on this website is—to me—its real initiation. Its subject characterizes what I think is the most appropriate way to begin anything: with Mother.
Back in May I joined a group of wonderful people on stage to share stories of Motherhood in a production called “Listen to Your Mother.” I saw this as a chance to thank and acknowledge my own Mother for all she’s given me in life—for life itself. Of course, there’s no way to capture that kind of gratitude… But at large, the impossible has never stopped the human from grasping at infinity!