The Unnaming of Aliass

The Unnaming of Aliass performs a paradoxical quest for wildly “untold” stories in the company of one special donkey companion, a femammal of the species Equus asinus and, significantly, a registered “American Spotted Ass.” Beast of burden that she is, this inscrutable companion helped carry a ridiculous load of human longings and quandaries into a maze of hot, harrowing miles, across the US South from Mississippi to Virginia, in the summer of 2002 -- all the while carrying her own onerous and unreckoned burdens and histories. Over two decades, the original journey evolved -- from the cracking-open of a quasi-Western novel-that-never-was by an implosive pun, into an ongoing philosophical and assthetic adventure: a hybrid roadside- and barnyard-based living-art practice, wherein “Aliass” un/names something much harder to grasp than the body of a lovely little ass: protagonist, setting, and traditional Western narratives turn inside-out around this “name-that-ain’t.” Through a deeply dug-in questioning of its own authorial assumptions, The Unnaming of Aliass makes space for untold autobiographies and bright dusty lacunae, tracing ineffable tales through the tangled shapes and shadows that interweave in any environment

The unnaming of Aliass

"Aliass" is a handle by which I have come to know (somewhat), love (a lot), and honor (I hope) the embodied mortal becomings of one special domestic donkey, a female mammal of the species Equus asinus and, significantly, a registered "American Spotted Ass." This companion helped carry a ridiculous burden of human longings and quandaries into a maze of hot, harrowing miles, across the US South from Mississippi to Virginia, in the summer of 2002--all the while carrying her own burdens and histories. Over ten years and then some, this journey has evolved into an ongoing "assthetic" and ontological adventure, where "Aliass" also stands for something harder to grasp than the body of a lovely little ass: protagonist, setting, and even narrative turn inside-out inside this "name-that-ain't," making room for unwritten tales and lacunae that abound inside/outside the tangled shapes and shadows of myriad lives that interweave in any environment. The Unnaming of Aliass responds to urgent calls from within environmental humanities for new kinds of multispecies stories, with radically altered sensibilities of who, where, and how humans make worlds with other species. As Deborah Bird Rose and Thom van Dooren elaborate, opening human sagas to diverse (even unthinkable) ways of living with others is a task that matters, if we hope to ground truer modes of "storying" of/in places where we find ourselves. How can we crack open worn-out modes of naming, narrative, and branding, so that all kinds of bodies might inscribe their tales, in their own specific ways and idioms, into the makings of time-places? "Untold" stories explore practical arts of living with Aliass and others (kin to Anna Tsing's "arts of living on a damaged planet"), wrangling in creative/critical ways with authority shot through with conflicted desires from the get-go. For all the thinking and writing, scheming and dreaming one human author might do, the whole ass story remains beyond the grasp of even the most dexterous tongue. So with the disclaimer that "Aliass" must stand for an impossible peace of ass (as Haraway and Stengers might say)--also a proclamation of love and respect for multispecies wor(l)ding--let the untelling (and the unnaming) begin

Multispecies Storytelling in Intermedial Practices

Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise? Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not. Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse. Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too

Comprehensive analysis of chemical and biological problems associated with browning agents used in aquatic studies

Inland waters receive and process large amounts of colored organic matter from the terrestrial surroundings. These inputs dramatically affect the chemical, physical, and biological properties of water bodies, as well as their roles as global carbon sinks and sources. However, manipulative studies, especially at ecosystem scale, require large amounts of dissolved organic matter with optical and chemical properties resembling indigenous organic matter. Here, we compared the impacts of two leonardite products (HuminFeed and SuperHume) and a freshly derived reverse osmosis concentrate of organic matter in a set of comprehensive mesocosm- and laboratory-scale experiments and analyses. The chemical properties of the reverse osmosis concentrate and the leonardite products were very different, with leonardite products being low and the reverse osmosis concentrate being high in carboxylic functional groups. Light had a strong impact on the properties of leonardite products, including loss of color and increased particle formation. HuminFeed presented a substantial impact on microbial communities under light conditions, where bacterial production was stimulated and community composition modified, while in dark potential inhibition of bacterial processes was detected. While none of the browning agents inhibited the growth of the tested phytoplankton Gonyostomum semen, HuminFeed had detrimental effects on zooplankton abundance and Daphnia reproduction. We conclude that the effects of browning agents extracted from leonardite, particularly HuminFeed, are in sharp contrast to those originating from terrestrially derived dissolved organic matter. Hence, they should be used with great caution in experimental studies on the consequences of terrestrial carbon for aquatic systems

The Unnaming of Aliass

The Unnaming of Aliass performs a paradoxical quest for wildly “untold” stories in the company of one special donkey companion, a femammal of the species Equus asinus and, significantly, a registered “American Spotted Ass.” Beast of burden that she is, this inscrutable companion helped carry a ridiculous load of human longings and quandaries into a maze of hot, harrowing miles, across the US South from Mississippi to Virginia, in the summer of 2002 -- all the while carrying her own onerous and unreckoned burdens and histories. Over two decades, the original journey evolved -- from the cracking-open of a quasi-Western novel-that-never-was by an implosive pun, into an ongoing philosophical and assthetic adventure: a hybrid roadside- and barnyard-based living-art practice, wherein “Aliass” un/names something much harder to grasp than the body of a lovely little ass: protagonist, setting, and traditional Western narratives turn inside-out around this “name-that-ain’t.” Through a deeply dug-in questioning of its own authorial assumptions, The Unnaming of Aliass makes space for untold autobiographies and bright dusty lacunae, tracing ineffable tales through the tangled shapes and shadows that interweave in any environment