Vinciane Despret – författare

In the first days of spring, birds undergo a spectacular metamorphosis. After a long winter of migration and peaceful coexistence, they suddenly begin to sing with all their might, varying each series of notes as if it were an audiophonic novel. They cannot bear the presence of other birds and begin to threaten and attack them if they cross a border, which might be invisible to human eyes but seems perfectly tangible to birds. Is this display of bird aggression just a pretence, a game that all birds play? Or do birds suddenly become territorial – and, if so, why?By attending carefully to the ways that birds construct their worlds and ornithologists have tried to understand them, Despret sheds fresh light on the activities of both and, at the same time, enables us to become more aware of the multiple worlds and modes of existence that characterize the planet we share in common with birds and other species.

Virginia Woolf, to whom university admittance had been forbidden, watched the universities open their doors. Though she was happy that her sisters could study in university libraries, she cautioned women against joining the procession of educated men and being co-opted into protecting a “civilization” with values alien to women. Now, as Woolf’s disloyal (unfaithful) daughters, who have professional positions in Belgian universities, Isabelle Stengers and Vinciane Despret, along with a collective of women scholars in Belgium and France, question their academic careers and reexamine the place of women and their role in thinking, both inside and outside the university. They urge women to heed Woolf’s cry-Think We Must-and to always make a fuss about injustice, cruelty, and arrogance.

The first major monograph on the work of contemporary Belgian artist Fabrice SamynContemporary Belgian artist Fabrice Samyn (b. 1981) works in a wide variety of media, including painting, photography, sculpture, installation, and recently choreography. His art engages with history and the passage of time, raising important questions about representation, idolatry, iconoclasm, and ecology in our contemporary world. In the artist’s own words, “My work attempts to reveal time, or rather natural phenomena of time (erosion for example) as creative.” One of his best-known series, “Sinai” (2010), features photographic images of the necks of Greek sculptures, cropped and lit in such a way that they become abstract landscapes. This book is the first to offer an in-depth exploration of the full scope of Samyn’s oeuvre. Copiously illustrated, the book also includes penetrating essays by prominent European philosophers and art historians.Distributed for MercatorfondsExhibition Schedule:Gallerie Sies + Hoek, Düsseldorf(2020)

“You are about to enter a new genre, that of scientific fables, by which I don’t mean science fiction, or false stories about science, but, on the contrary, true ways of understanding how difficult it is to figure out what animals are up to.” -Bruno Latour, form the ForewordIs it all right to urinate in front of animals? What does it mean when a monkey throws its feces at you? Do apes really know how to ape? Do animals form same-sex relations? Are they the new celebrities of the twenty-first century? This book poses twenty-six such questions that stretch our preconceived ideas about what animals do, what they think about, and what they want.In a delightful abecedarium of twenty-six chapters, Vinciane Despret argues that behaviors we identify as separating humans from animals do not actually properly belong to humans. She does so by exploring incredible and often funny adventures about animals and their involvements with researchers, farmers, zookeepers, handlers, and other human beings. Do animals have a sense of humor? In reading these stories it is evident that they do seem to take perverse pleasure in creating scenarios that unsettle even the greatest of experts, who in turn devise newer and riskier hypotheses that invariably lead them to conclude that animals are not nearly as dumb as previously thought.These deftly translated accounts oblige us, along the way, to engage in both ethology and philosophy. Combining serious scholarship with humor that will resonate with anyone, this book-with a foreword by noted French philosopher, anthropologist, and sociologist of science Bruno Latour-is a must not only for specialists but also for general readers, including dog owners, who will never look at their canine companions the same way again.

In the first days of spring, birds undergo a spectacular metamorphosis. After a long winter of migration and peaceful coexistence, they suddenly begin to sing with all their might, varying each series of notes as if it were an audiophonic novel. They cannot bear the presence of other birds and begin to threaten and attack them if they cross a border, which might be invisible to human eyes but seems perfectly tangible to birds. Is this display of bird aggression just a pretence, a game that all birds play? Or do birds suddenly become territorial – and, if so, why?By attending carefully to the ways that birds construct their worlds and ornithologists have tried to understand them, Despret sheds fresh light on the activities of both and, at the same time, enables us to become more aware of the multiple worlds and modes of existence that characterize the planet we share in common with birds and other species.

In the first days of spring, birds undergo a spectacular metamorphosis. After a long winter of migration and peaceful coexistence, they suddenly begin to sing with all their might, varying each series of notes as if it were an audiophonic novel. They cannot bear the presence of other birds and begin to threaten and attack them if they cross a border, which might be invisible to human eyes but seems perfectly tangible to birds. Is this display of bird aggression just a pretence, a game that all birds play? Or do birds suddenly become territorial – and, if so, why?

By attending carefully to the ways that birds construct their worlds and ornithologists have tried to understand them, Despret sheds fresh light on the activities of both and, at the same time, enables us to become more aware of the multiple worlds and modes of existence that characterize the planet we share in common with birds and other species.

An award-winning exploration of the presence of the dead in the lives of the livingA common remedy after suffering the loss of a loved one is to progress through the “stages of grief,” with “acceptance” as the final stage in the process. But is it necessary to leave death behind, to stop dwelling on the dead, to get over the pain? Vinciane Despret thinks not. In her fascinating, elegantly translated book, this influential thinker argues that, in practice, people in all cultures continue to enjoy a lively, inventive, positive relationship with their dead.Through her unique storytelling woven from ethnographic sources and her own family history, Despret assembles accounts of those who have found ways to live their daily lives with their dead. She rejects the idea that one must either subscribe to “complete mourning” (in a sense, to get rid of the dead) or else fall into fantasy and superstition. She explores instead how the dead still play an active, tangible role through those who are living, who might assume their place in a family or in society; continue their labor or art; or thrive from a shared inheritance or an organ donation. This is supported by dreams and voices, novels, television and popular culture, the work of clairvoyants, and the everyday stories and activities of the living. For decades now, in the West, the dead have been discreet and invisible. Today, especially as a result of the Covid-19 pandemic, Despret suggests that perhaps we will be willing to engage with the dead in ways that bring us happiness despite our loss. Despret’s unique method of inquiry makes her book both entertaining and instructive. Our Grateful Dead offers a new, pragmatic approach to social and cultural research and may indeed provide compassionate therapy for those of us coping with death.

An award-winning exploration of the presence of the dead in the lives of the livingA common remedy after suffering the loss of a loved one is to progress through the “stages of grief,” with “acceptance” as the final stage in the process. But is it necessary to leave death behind, to stop dwelling on the dead, to get over the pain? Vinciane Despret thinks not. In her fascinating, elegantly translated book, this influential thinker argues that, in practice, people in all cultures continue to enjoy a lively, inventive, positive relationship with their dead.Through her unique storytelling woven from ethnographic sources and her own family history, Despret assembles accounts of those who have found ways to live their daily lives with their dead. She rejects the idea that one must either subscribe to “complete mourning” (in a sense, to get rid of the dead) or else fall into fantasy and superstition. She explores instead how the dead still play an active, tangible role through those who are living, who might assume their place in a family or in society; continue their labor or art; or thrive from a shared inheritance or an organ donation. This is supported by dreams and voices, novels, television and popular culture, the work of clairvoyants, and the everyday stories and activities of the living. For decades now, in the West, the dead have been discreet and invisible. Today, especially as a result of the Covid-19 pandemic, Despret suggests that perhaps we will be willing to engage with the dead in ways that bring us happiness despite our loss. Despret’s unique method of inquiry makes her book both entertaining and instructive. Our Grateful Dead offers a new, pragmatic approach to social and cultural research and may indeed provide compassionate therapy for those of us coping with death.

A groundbreaking reflection on the process by which one arrives at an ethological theoryHow do humans study the complex worlds of animals without imposing their own societal and scientific gaze upon them? The biologist Amotz Zahavi stakes the controversial claim that Arabian babblers are said to raise themselves up each day to dance and tend to one another in the early morning sun. Such a claim will provoke the interest and intellectual curiosity of a young philosopher and psychologist recognizing that the best way for her to observe the practices of scientists at work is to join them on their terrain. Embedding herself in the field alongside ethologists in the Negev desert, Vinciane Despret deftly depicts and reflects on the process by which scientists construct their theories within the milieu of the animals they study. Along the way, and not without humor, Despret analyzes a variety of theories posited by many well-known thinkers, including Zahavi, who devoted his life to the interpretation, companionship, and conservation of the Arabian babbler bird, and naturalists such as Charles Darwin and Pierre Kropotkin.

Broken hearts, edgy nerves, tightened throats—our emotions grab and take hold of us. But if our emotions appear obvious to us, are they necessarily real or universal? This, of course, is what researchers in physiology and psychology assert, but they will ultimately be disappointed. Vinciane Despret sets out in this book to show how some of our emotions, precisely those we thought were a natural part of our make-up, do not exist unless they have been inscribed in our subjectivity through the mediation of culture. Emotions do not exist per se, but only within relations to others. Anthropologists and ethnologists often return from distant regions and remote islands with emotions unknown to their peers at home, and which can only be expressed in the tribal tongue they have learned. Following such discoveries, one should not be surprised to find that anger does not exist among the Uktus, and the Ikfalus have to teach fear to their children. One only has to consider the emotions of other cultures and traditions to recognize that they are human productions with wide and significant variations, like good manners. Our emotions, finally, represent the way that we see the world and try to make it our own.

Was ist, wenn wir Menschen nicht die einzigen Lebewesen sind, die Kreativität beweisen und den Wunsch hegen, dass man sich an ihre Existenz erinnert? In der Welt, in der die drei Geschichten dieses Bandes verortet sind, werden Tiere als Wesen betrachtet, die fähig sind zu Spiel, Ritus und Dichtung. Die Anthropologie wurde von der Therologie (von griech. therion, Tier) abgelöst, insbesondere der Therolinguistik. Despret lässt uns eintauchen in die spannenden Debatten dieser neuen Disziplin: Senden die Spinnen vibrierende Hilferufe, da sie unter dem Überfluss menschenproduzierter Schwingungen leiden? Zeugen die Kotbauten der Wombats von einer »Fäkalkosmologie«? Beklagen die Kraken über Tintenspuren auf Tonscherben die Überfischung und Verschmutzung der Ozeane, die ihre Wiedergeburt verhindern? Vinciane Despret schreibt im wahrsten Sinne des Wortes Science-Fiction. Raffiniert verwischt sie die Grenzen zwischen Wissenschaft und Literatur, zwischen Mensch und Tier. Ein so geist- wie fantasievolles Plädoyer für einen radikal neuen Blick auf die Tierwelt – und unseren Platz darin.

Nach einem langen Winter der gemeinsamen Migration und des friedlichen Zusammenlebens beginnen Vögel in den ersten Frühlingstagen plötzlich mit aller Kraft zu singen und erschaffen einen eindrucksvollen audiophonen Raum. Sie werden zu Konkurrenten, können die Anwesenheit anderer nicht ertragen und fangen an, sie zu bedrohen und anzugreifen, wenn sie eine Grenze überschreiten, die für den Menschen unsichtbar ist. Was verbirgt sich dahinter? Ein Spiel, die Balz oder eine Form von Territorialität? Oder ist alles doch nur Show? Die belgische Wissenschaftsphilosophin untersucht mit liebevollem Blick die Art und Weise, wie Vögel ihre Welten konstruieren, und Ornithologen versuchen, sie zu verstehen. Sie nimmt Vögel wie Ornithologen genau unter die Lupe und indem sie beide in einem gemeinsamen Raum beobachtet, öffnet sie uns die Augen für die vielfältigen Welten und Existenzweisen auf unserem Planeten, den der Mensch sich mit Vögeln und anderen Arten teilt.

Das sechste Massenaussterben von Flora und Fauna hat bereits begonnen. Die politischen Maßnahmen und zivilgesellschaftlichen Kampagnen, die darauf abzielen, die Katastrophe noch zu stoppen oder wenigstens einzudämmen, werden meist damit begründet, dass Tiere und Pflanzen verloren gehen könnten, die Menschen das Überleben sichern oder die der Menschheit in Zukunft nützlich sein könnten. In dieser Ausgabe von Tierstudien wird der Blick umgekehrt und das Artensterben von den Tieren aus perspektiviert, um auf weniger anthropozentrische Weise für den Erhalt von Arten und Individuen zu argumentieren.Dabei werden die unterschiedlichen Narrative analysiert, die sich in den wissenschaftlichen Debatten und künstlerischen Verhandlungen von Artensterben formiert haben. Aus ihrer jeweiligen disziplinären Perspektive reflektieren und deuten die Autor*innen das gegenwärtige Verschwinden bzw. den drohenden Verlust von Arten und zeigen, wie beides in Texten, Kunstwerken, Filmen und Museen als Denkfigur und ästhetische Größe produktiv gemacht wird.Im Fokus der Artikel stehen u. a. ausgestorbene Elefanten, die letzten Wandertauben, verschwundene Nebelparder und gefährdete Insekten, aber auch erfolgreicher Fischschutz, Rewilding-Narrationen und taxidermische Präparate bedrohter Spezies. Die Beiträge thematisieren musikethnologische, ethische, kultur- und literaturwissenschaftliche und theologische Debatten zum anthropogenen Ökozid sowie Fragen der zwischenartlichen Gerechtigkeit.Extinction. Das große Sterben bildet damit einen der ersten deutschsprachigen Sammelbände im Kontext des neuen Forschungsfeldes der Extinction Studies.Mit Beiträgen von Vinciane Despret, Julia Ditter, Simone Horstmann, Daniel Lau, Nina-Marie Schüchter, Wolfgang Schwerdt, Helena Simonett, Anna Wienhues und Christian Zumbrägel.Mit künstlerischen Positionen von Marcus Coates, Alisa Hecke / Julian Rauter, Katrin Petroschkat / Susanne Schmitt, Christina M. Schachtschabel und Lina Tegtmeyer.